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Scanned  from  the  collections  of 
The  Library  of  Congress 


AUDIO-VISUAL  CONSERVATION 
at  The  LIBRARY/ CONGRESS 


Packard  Campus 

for  Audio  Visual  Conservation 

www.loc.gov/avconservation 


V 


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a 

03 

i  83 


JANUARY 
VOLUME  38 

40c  A  COPY 


1963 
NUMBER  1 

$3.00  A  YEAR 


Investment  Opportunity 


He's  going  to  be  your  best  salesman  thirty  years  from  now. 

It's  going  to  take  a  lot  to  make  him  that.  A  lot  of  care,  a 
lot  of  love,  a  lot  of  training.  A  lot  of  money. 

The  kind  of  world  he  grows  up  in  is  important  too.  A 
strong  and  free  America  will  be  essential  to  his  future,  as 
it  is  to  ours  right  now. 

Our  country  needs  investors,  just  as  your  own  company 
does — to  develop  that  star  salesman  of  tomorrow,  and 
thrifty,  self-reliant  employees  today.  That's  why  America's 
business  leaders  invite  you  to  follow  their  lead  in  promot- 
ing the  Treasury's  Payroll  Savings  Plan  for  U.S.  Savings 


Bonds.  When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll — you 
are  investing  in  that  salesman  of  thirty  years  from  now.  In 
the  chemists  who  will  develop  your  new  products.  In  the 
weavers,  puddlers,  drillers,  assemblers  who  will  make  the 
products.  You  are  investing  in  America's  human  resources. 
In  America's  future.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  to  the 
Treasury  Department,  U.S.  Savings  Bonds  Division, 
Washington  25,  D.  C. 


fS& 


Ve  b** 


in  your  plant... promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS 


The  U.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism,  The  Advertising  Council  and  this  magazine. 


International  Projectionist 


INTERNATIONAL 

PROJECTIONIST 

Including  a  special  Audio-Visual  section  relat- 
ing to  the  operation  and  maintenance  of  A-V 
equipment  in  the  educational  and  industrial 
fields. 


Volume  38     January,  1963       No.  1 


FRANK  W.  COOLEY,   JR. 
Editor  and   Publisher 

MIDWEST  OFFICE 

1645   Hennepin   Avenue 

Minneapolis   3,   Minnesota 


AL  BLOOM 
Managing   Editor 


RAY  GALLO 

General   Manager 

Associate  Publisher 

EAST  COAST  OFFICE 

545   Fifth  Avenue 
New  York    17,   N.  Y. 
Murray   Hill    7-7746 


TOM   KENNEDY 
Equipment   Editor 


IN  THIS  ISSUE 

Projectionist    News    4 

Improvement   of   Theatres    5 

By  D.   E.    HYNDMAN 

Up-Dating    the   Disc    Reproducer    6 

By  ROBERT  A.  MITCHELL 

Arc-Lamp    Demonstrations    8 

Automatic    Projection1   14 

News  Notes — Technical  Hints — Miscellaneous  Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
International  Projectionist  Publishing  Co.  division  of  The 
Northern  Publishing  Co.,  Post  Office  Box  6174,  Minneapolis 
24,  Minnesota.  Editorial  offices,  1645  Hennepin  Avenue, 
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insure  receipt  of  current  issue.  Second-class  postage  paid  at 
Minneapolis,  Minn.  INTERNATIONAL  PROJECTIONIST  as- 
sumes no  responsibility  for  personal  opinions  appearing  in 
signed  articles,  or  for  unsolicited  articles.  Entire  contents 
copyrighted  1963  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 


1 


MONTHLY  CHAT 

Lip  Service  to  Good  Projection 

The  late  Harold  B.  Franklin,  when  he  was  president 
of  the  West  Coast  Theatres,  published  a  book  on  motion 
picture  theatre  management,  which  had  this  to  say  about 
projection. 

"Good  projection  is  the  heart  of  a  motion  picture  the- 
atre. Without  a  clear  picture,  with  proper  intensity  of 
light,  all  the  management's  efforts  are  in  vain." 

In  other  words,  no  matter  if  the  theatre  owner  picks 
and  chooses  from  the  available  product  supply  those 
attractions  suited  to  his  patrons;  the  clean,  attractive  and 
comfortable  surroundings;  courteous  service  by  the 
theatre  personnel;  effective  exploitation  and  advertising 
in  the  city  or  community,  all  those  efficient  showman- 
ship things  go  out  the  window  if  the  theatre  does  not 
have  good  projection,  with  up-to-date  equipment  for  the 
craftsmen  in  the  theatre's  booth. 

Many  progressive  circuit  heads  and  individual  theatre 
owners  have  long  agreed  that  without  good  projection 
the  management,  no  matter  how  sufficient,  is  useless. 
And  the  reason  we  quoted  Franklin  about  good  pro- 
jection is  because  he  rose  through  the  ranks — usher  to 
theatre  manager  to  general  manager  of  Shea's  Theatres 
in  Buffalo,  to  general  manager  of  Publix  Theatres  and 
finally  to  president  of  West  Coast  Theatres. 

Still,  many  exhibitors  who  have  out-dated  equipment 
think  they  can  go  along  buying  expensive  pictures — in 
these  days  theatres  can't  book  low  cost  attractions — and 
the  patrons  are  cheated  out  of  the  modern  techniques 
the  film  maker  puts  in  his  picture  at  great  cost. 

There's  now  a  rising  trend  to  build  new  theatres  and 
do  major  remodeling  of  existing  theatres,  so  that  the 
old  and  neglected  theatres  with  worn-out  booth  equip- 
ment will  have  to  get  new  projectors,  arc  lamps,  and 
sound   systems   or   face   dwindling  patronage. 

So  maybe  the  day  will  come  for  projectionists  to 
have  modern  projectors,  arc  lamps,  sound  systems  and 
all  the  necessary  accessories — and  the  sooner  the  better. 

Of  course  the  projectionist  who  works  with  old 
equipment  will  have  to  be  on  his  toes,  with  the  know- 
how  about  the  up-to-date  projectors,  lamps  and  sound 
systems. 

The  theatre  owner,  having  spent  thousands  of  dollars 
for  new  booth  machines,  has  the  right  to  demand  that  his 
projectionists  operate  the  new  equipment  efficiently. 

The  manufacturer  or  the  dealer  says  the  new  equip- 
ment will  get  all  the  details  out  of  the  print,  with  a  rock- 
steady picture,  more  light  on  the  screen  and  with  quality 
sound.  So  the  theatre  owner  won't  be  satisfied  unless 
it's  the  best  picture  he  has  ever  seen,  and  will  blame  the 
projectionist  if  it  isn't  perfect.  (Tlie  projectionist  crew 
should  insist  the  installation  man  get  things  right,  and 
give  a  demonstration  to  the  exhibitor  on  screen. ) 

The  theatre  owner  also  has  the  right  to  ask  the  pro- 
jectionists to  keep  machines  oiled,  cleaned,  with  the 
proper  maintenance  for  all  the  equipment  in  the  booth. 
Rightly,  the  exhibitor  expects  the  new  equipment  to  last 
for  years,  otherwise  he  has  a  bad  investment,  for  pro- 
jectors, lamps  and  sound  systems  are  costly  to  buy. 

This  is  a  challenge  the  top  craftsman  will  relish.  After 
all,  the  projectionist  has  great  respect  for  his  machines, 
because  he   well  knows  that   without  the  efficient  tools 

(Continued  on  Page  8) 


International  Projectionist 


January,  1963 


INTERNATIONAL  PROJECTIONIST 


Volume  38 


January,   1963 


Number   1 


Albert  S.  Johnstone  Dies; 
Was  IATSE  Vice  President 

NEW  ORLEANS— Albert  S.  John- 
stone, fourth  vicepresident  of  the 
IATSE,  died  Jan.  2  following  surgery 
here.  Although  in  poor  health  for 
several  years,  he  had  continued  to 
handle  a  full  schedule  of  union  as- 
signments prior  to  entering  a  hospital 
several    days    before. 

A  native  and  lifelong  resident  of 
New  Orleans,  Johnstone  was  edu- 
cated at  a  private  high  school  there 
and  at  Tulane  University.  While  still 
in  school,  he  became  a  rewind 
boy  at  a  movie  house  and  later  a 
projectionist.  For  two  years  begin- 
ning in  1928,  he  traveled  for  ERPI. 
the  predecessor  of  Altec  Service 
Corp.,  installing  sound  equipment 
and  instructing  in  the  use  of  it. 

A  member  of  New  Orleans  Opera- 
tors Local  293  since  1914,  he  be- 
came secretary  two  years  later  and 
served  as  president  almost  continu- 
ously from  1919  until  the  time  of  his 
death.  In  the  course  of  his  career, 
which  began  when  only  two  of  the 
city's  theatres  were  organized,  agree- 


ments were  reached  with  virtually  all 
of  them. 

Johnstone  was  appointed  an  IA 
international  representative  in  1943 
and  was  elected  a  vicepresident  in 
1954.  Survivors  include  his  wife, 
Mary,  and  two  daughters.  iP 

Loew's  Building  Theatre 
in  Suburb  of  Washington 

NEW  YORK— Arthur  M.  Tolchin, 
assistant  to  the  president  of  Loew's 
Theatres,  announced  here  that  his 
company  is  building  an  800-seat  sta- 
dium type  theatre  in  Springfield,  Va. 
(  a  suburb  of  Washington,  D.  C.  I . 

The  new  theatre  will  be  erected  in 
the  Towers  Plaza  Shopping  Center, 
located  at  Shirley  Highway  and 
Edsal  Road. 

The  theatre  will  be  known  as 
Loew's  Springfield,  with  the  latest 
developments  in  screen  projection, 
sound  reproduction  and  modern 
automatic  air-conditioning.  In  addi- 
tion there  will  be  substantial  park- 
ing facilities. 

Loew's  Springfield  is  expected  to 
be  ready  for  operation  in  early  1963. 

iP 


Projectionists  Club  Plays  Santa 
For  III  Kiddies  in  N.Y    Hospitals 


NEW  YORK— Harry  Garfman,  the 
Brooklyn  and  Queens  business  repre- 
sentative of  the  M.  P.  Operator's 
Local  No.  306,  and  members  of  the 
Movie  Social  Club  of  Kings  County, 
spent  their  Christmas  week  visiting 
children's  wards  in  Brooklyn  pub- 
lic hospitals  distributing  toys  and 
other  gifts  with  presentations  of 
movies  and  live  entertainment  to  sick 
and  needy  youngsters. 


Harry   Garfman   of  MPO   306   and 
youngsters  in  Brooklyn  hospital  wards. 


Garfman  and  the  Club — made  up 
of  about  300  projectionists  of  Local 
306 — have  played  Santa  Claus  for 
the  20th  consecutive  year  to  under- 
privileged children  confined  to  hos- 
pitals. 

The  Club,  a  humanitarian  organiza- 
tion, in  addition  to  their  yearly 
Christmas  effort,  has  conducted  many 
fund-raising  campaigns  for  juvenile 
illnesses. 

Its  current  effort  is  on  behalf  of 
Dr.  Joseph  B.  Pincus,  the  director 
of  the  Department  of  Pediatrics  of 
the  Jewish  Hospital.  Dr.  Pincus  has 
recently  established  a  clinic  for  the 
treatment  of  cystic  fibrosis,  diabetes, 
epilepsy  and  other  dreaded  child- 
hood  diseases. 

Harry  Garfman.  who  is  executive 
director  of  the  Movie  Social  Club, 
and  the  members  of  the  Club,  have 
a  fund-raising  campaign  for  the  sup- 
port and   enlargement   of  the   clinic. 

iP 


Camera  Mart  Sets  Up 
Film  Editors  Seminar 

NEW  YORK  —  The  first  annual 
film  editing  workshop-seminar  of  the 
Camera  Mart,  a  New  York  company 
specializing  on  sales,  service  and 
rentals  of  motion  picture  and  televi- 
sion equipment,  is  set  for  Oct.  7-11, 
1963,  it  was  announced  by  Samuel 
"Chick"  Hyman,  president  of  the 
company. 

The  workshop-seminar  for  film 
editors  will  concentrate  on  the  spe- 
cialized film  editing  practices  and 
problems  encountered  by  industrial 
in-plant,  university  and  government 
agency  film  editors. 

All  aspects  of  film  editing  will  be 
covered  during  the  five-day  pro- 
gram, through  technical  demonstra- 
tions, general  lectures,  workshop  ses- 
sions on  practice  editing  projects. 
In  addition,  participants  will  visit 
well  known  New  York  film  editing 
facilities. 

Browning    Memorial    Award 

Mr.  Hyman  also  announced  the 
Camera  Mart's  sponsorship  of  the 
"Irving  and  Sam  Browning  Mem- 
orial Award"  to  promising  univer- 
sity film  production  students.  Par- 
ticipating in  this  award  are  the  mo- 
tion picture  departments  of  New 
York  University,  the  City  College  of 
New  York,  and  Columbia  Univer- 
sity. 

The  motion  picture  departments 
heads  at  each  of  these  three  uni- 
versities will  designate  the  student 
they  believe  has  shown  the  most 
promise.  Each  of  the  students  chosen 
will  be  given  an  award  by  The 
Camera  Mart  worth  $150  towards  the 
rental  of  professional  motion  picture 
equipment.  The  first  series  of  three 
awards  will  be  granted  in  June.  1963. 
The  award  is  a  memorial  for  the  two 
founders  of  The  Camera  Mart.  Irving 
and  Sam  Browning.  iP 

ELECTED  FOR  26TH  TIME 

NEW  YORK— Morris  J.  Rotker.  a 
projectionist  for  51  years  and  now 
secretary  to  Judge  Sidney  H.  Asch 
in  the  Bronx  Municipal  Court,  has 
been  reelected  treasurer  of  his  Mas- 
onic Lodge  for  the  26th  time. 

iP 


International  Projectionist 


January,  1963 


HOW  CAN  MOTION  PICTURE 
THEATERS  BE  IMPROVED? 

D.    E.    Hyndman,  Assistant  Vice   President 
Eastman    Kodak  Co. 


In  making  suggestions  to  theater 
owners,  I  have  the  great  advantage 
of  not  owning  or  operating  a  theater. 
This  permits  me  to  suggest  almost 
anything  that  seems  worthwhile 
without  any  financial  penalties  in 
case  I  am  wrong.  I  hope  you  will 
keep  my  privileged  position  in  mind 
throughout  this  article. 

Perhaps  we  might  just  pause  for  a 
moment  and  philosophize  on  the 
things  that,  I  think,  motivate  atten- 
dance in  motion-picture  theatres. 

One  of  the  great  characteristics  the 
motion  picture  has  is  its  ability  to 
transform  one — in  the  twinkling  of 
an  eye — to  another  world.  The  min- 
ute you  walk  in  off  the  street  and  sit 
down,  you  can  forget  what  city  you 
are  in,  what  problems  you  have, 
what  problems  the  world  has,  by 
identifying  yourself  with  the  activity 
on  the  screen.  TV  with  its  smaller 
screen  and  generally  more  distracting 
ambient  atmosphere  will  never  be 
able  to  do  it.  The  very  good  mind 
can  approach  this  with  TV  or  by 
reading  a  good  book  but  no  medium 
can  so  engage  the  participant  as 
the  motion  picture  shown  in  a  good 
theater. 

We  might  consider  the  advance  of 
the  motion-picture  industry  during 
the  great  1932  depression.  People 
flocked  to  see  Dick  Powell  and  Ruby 
Keeler  in  "42nd  Street."  They  flock- 
ed in  to  achieve  90  minutes  of  relax- 
ing participation  in  someone  else's 
escapades.  The  minute  they  walked 
off  the  streets  they  were  in  another 
world  and  the  silver  screen  took  them 
into  this  other  world. 

People  Want  to  be   Absorbed 

During  World  War  II  the  millions 
of  men  on  duty  around  the  world 
achieved  a  few  minutes  "Change  of 
Pace"  through  the  films  that  were 
shown  to  them — and  they  stood  in 
line  for  a  good  long  time  to  get  into 
the  over-crowded  base  theaters  to  do 
it. 

What    I'm    trying   to    say    is   that 


Ed.  Note:  Mr.  Hyndman  echoes  the 
pleas  of  projectionists  for  lo  these  many 
years  as  he  goes  directly  to  the  exhibi- 
tors at  the  National  Allied  convention 
in  Cleveland.  His  remarks  emphasize 
the  need  for  updated  theatres  to  per- 
mit the  technicians  to  do  the  job  re- 
quired of  today's  patron. 

International  Projectionist 


people  want  to  become  completely 
absorbed  with  what  is  going  on 
before  them  on  the  screen.  Regard- 
less of  their  mental  capabilities,  the 
motion  picture  is  capable  of  achiev- 
ing a  sense  of  participation  far 
greater  than  any  other  medium  I  am 
aware   of. 

Theater  owners  must  nuture  this 
capability  by  presenting  the  film  in 
its  optimum  manner.  They  must 
not  place  any  roadblocks  in  the  way 
of  the  theater  goer  that  will  impede 
his  transformation  from  the  harassed 
businessman,  housewife,  student, 
teen-ager  or  whatever  he  was  when  he 
walked    in. 

If  owners  do  throw  these  road- 
blocks in  my  way,  they  are  going  to 
lose  me  as  a  customer. 

I  like  movies  and  manage  to  see 
about  a  hundred  or  more  every  year. 
But  I  am  selective  as  to  the  theater  I 
attend.  I  don't  like  roadblocks —  I 
don't  like  to  break  my  bones  finding 
a  seat;  I  don't  like  to  sit  in  a  broken- 
down  seat:  I  don't  like  to  smell  ran- 
cid butter  and  the  like — nor  does 
anyone  else  when  he  has  paid  for 
comfort.  A  theater  must  be  a  plea- 
sant place  to  congregate  with  others, 
with  people  who  really  want  to  go 
to  the  movies. 
Location    is   Important 

Sometimes  the  best  way  to  improve 
a  theater  is  a  very  radical  one.  It 
consists  in  moving  it  from  an  un- 
desirable location  to  a  more  suitable 
and  promising  location.  Any  owner 
who  does  this  should  carefully  sur- 
vey possible  theater  locations  in  his 
town  or  city  getting  the  best  real- 
estate  advice  which  is  available.  The 
theater  should  be  placed  near  a 
modern  and  growing  center  of  popu- 
lation. There  are  some  strategic 
neighborhoods  where  large  numbers 
of  important  apartments  or  housing 
developments  are  being  erected. 
Being  as  close  to  these  as  possible  is 
a  good  idea.  Furthermore,  shopping 
centers  are  often  attractive  locations 
for  a  new  theater.  A  great  many 
people  are  drawn  to  a  shopping 
center.  Many  of  them  find  that  they 
have  some  time  to  spare  and  will 
drop  into  a  theater  to  enjoy  the 
show  and  rest  their  aching  feet.  A 
big  plus  in  a  shopping  center  is  the 
large    available    parking   area. 

January,  1963 


But  a  successful  theater  requires 
more  than  a  good  location.  It  needs 
modern,  efficient,  and  properly  main- 
tained equipment.  The  best  available 
projectors  are  excellent  devices  and 
capable  of  throwing  a  large,  bright, 
and  sharp,  steady  picture  on  a  good- 
size  screen.  Economy  in  picture 
brightness  or  sharpness  is  indeed 
foolish  since  the  picture  is  the  major 
part  of  what  the  exhibitor  has  to  sell 
his  audience.  The  screen  and  its 
surroundings  are  also  of  major  im- 
portance. Modern  and  capable 
theater  architects  surround  the  screen 
by  framing,  luminous  or  otherwise, 
in  such  fashion  as  to  make  the  pic- 
ture blend  into  its  surroundings  thus 
increasing  naturalness.  This  is  also 
a  good  idea  since  the  theater  condi- 
tions are  quite  different  from  those 
in  regular  television  viewing  in  the 
home.  And  theater  exhibition  should 
not  resemble  home  entertainment  if 
it  is  to  attract  a  maximum  audience. 

It  is  very  important  that  the 
quality  of  sound  in  all  parts  of  the 
house  be  excellent.  This  means  that 
the  theater,  possibly  with  some  new 
acoustic  treatment,  must  have  the 
right  amount  and  type  of  reverbera- 
tion. Sound  levels  must  not  be  too 
high — a  common  failing  in  many 
theaters.  Speech  and  musical  repro- 
duction must  be  of  the  highest  quality 
even  for  people  with  somewhat  im- 
paired hearing,  so  that  they  can 
understand  all  the  dialogue  and  en- 
joy musical  accompaniment. 

General  Environment  Should  be  Pleasant 

Needless  to  say,  the  refreshment 
section  of  the  theater  lobby  should 
be  attractive  but  not  garish.  And  it 
'should  not  give  the  theater  an 
amusement-park  atmosphere,  but 
rather  emphasize  the  comfort  and 
convenience  aspects.  That  is,  it 
should  be  readily  accessible,  but  not 
obstrusive. 

Particular  care  is  required  for  the 
marquee,  and  lobby  displays.  Often 
these  are  "busy,"  fussy,  and  confus- 
ing. One  main  theme  should  be  em- 
phasized and  everything  kept  sub- 
ordinate in  these  displays  so  as  to 
avoid  confusing  the  prospective 
customer. 

The    general    environment    in    the 

(Continued  on  Page  18) 


Theatre  Sound  •  •  • 


Updating  the 
Disc  Reproducer 


By  ROBERT  A.  MITCHELL 


Projectionists  are  no  strangers  to  the  use  of  phono- 
graph records  for  overture  and  intermission  music 
in  the  theatre.  The  projectionist  not  only  plays  the 
records  on  a  turntable  in  the  projection  room,  but  is 
usually  responsible  for  selecting  the  appropriate  musical 


Single  groove  of 
constant  depth. 


MONAURAL 


Doubly  modulated. 
ne  signal  on 
each  side) 


STEREOPHONIC 

FIG.  1 — An  ordinary  phonograph  record  (monaural)  has 
a  constant-depth  groove  that  varies  from  side  to  side  in  ac- 
cordance with  the  recorded  sound  vibrations.  There  is  thus 
only  one  sound  signal  in  the  groove.  A  stereophonic  record, 
on  the  other  hand,  carries  one  signal  on  one  wall,  of  the 
groove  and  the  other  signal  on  the  other  wall,  the  two 
sets  of  variations  being  separated  by  an  angle  of  90  degrees. 
The  combination  of  two  channels  of  sound  causes  the  depth 
as  well  as  the  lateral  position  of  the  groove  to  vary. 

6 


numbers  to  use  with  each  film  program  that  comes 
along. 

Recorded  music  is  admittedly  "canned,"  and  hence 
lacking  in  the  "immediacy"  of  live  musicians  per- 
forming in  the  orchestra  pit,  but  it  should  be  remem- 
bered that  the  motion-picture  is  itself  canned  entertain- 
ment in  the  sense  that  it  has  been  pre-recorded  and 
worked  up  into  a  finished  product  before  being  pre- 
sented to  the  public.  There  is  thus  no  disparity  in  char- 
acter between  the  recorded  music  played  before  the 
motion-picture  presentations,  or  during  intermissions, 
and  the  audiovisual  entertainment  on  the  screen. 

The  advantages  of  recorded  music  are  its  ready 
availability  in  the  widest  possible  variety,  its  offerings 
of  music  played  by  accomplished  artists  employing  the 
finest  instrumental  means,  and  its  technical  excellence 
when  reproduced  by  suitable  equipment  through  modern 
theatre  sound  systems.  And  compared  with  the  cost  of 
live  talent,  records  are  inexpensive. 

Incidental   Music    Indispensable 

Only  the  very  largest  theatres  can  afford  an  orches- 
tra in  the  pit  or  an  organist  to  evoke  musical  magic 
from  the  pipes  of  the  "Mighty  Wurlitzer."  Other  the- 
atres must  have  recourse  to  recorded  music  for  the 
pleasure  of  the  audience  and  to  establish  the  appropriate 
moods  for  maximum  enjoyment  of  the  pictures.  A  the- 
atre without  music  during  the  pre-show  and  intermis- 
sion invervals  seems  rather  "barren" — an  atmosphere 
too  cold  to  encourage  frequent  attendance.  Incidental 
music  cannot  be  neglected  by  any  theatre  management 
that  aims  to  please  its  patrons  and  remain  in  business. 

Phonograph  records  have  been  used  in  movie  the- 
atres ever  since  the  inception  of  the  electrical  process 
of  recording  and  amplifying  sound  ( about  1925 ) .  Silent 
movies  reigned  supreme  in  the  '20's,  but  some  of  the 
very  smallest  theatres  found  it  advantageous  to  substi- 
tute electrically  amplified  phonograph  records  and 
special  musical  transcriptions  for  the  tinkling  nickelo- 
deon piano.  More  prosperous  theatres  nevertheless  re- 
tained "live"  music  because  it  could  be  perfectly  keyed 
in  mood  and  tempo  to  the  action  on  the  screen.  This 
was  particularly  true  of  theatres  having  wondrous  or- 
chestral pipe  organs  which  ordinarily  cost  much  more 
than  the  most  expensive  projection  equipment.  Indeed, 
the  organ  was  so  popular  that  it  continued  to  be  played 
during  intermissions  in  many  theatres  long  after  talking 


International  Projectionist 


January,  1963 


oictures   had   banished   the   glamorous   poetry    of   silent 
pantomime  from  the  screen  forever. 

Speech  came  to  the  screen  with  astonishing  sudden- 
ness, and  in  two  distinctly  different  media  of  sound  re- 
cording. One  form  of  the  screen's  new-found  voice  was 
the  33V3-RPM  Vitaphone  disc  record  which  ran  in 
synchronism  with  the  film  on  a  turntable  geared  to  the 
projector  motor.  The  other  was,  of  course,  the  photo- 
graphic soundtrack  printed  on  the  film  alongside  of 
the  picture. 

Projectionists  thus  spoke  of  "sound  on  disc"  and 
"sound  on  film"  in  the  early  days  of  talkies — the 
days  when  critics  of  the  new  sound  movies  grumbled 
that  Hollywood  lost  its  brains  when  it  found  its  voice. 
And  to  distinguish  the  reproduction  of  synchronous 
sound  on  disc  for  the  audio  accompaniment  of  a  movie 
from  the  ordinary  non- synchronous  musical  recordings 
played  before  the  show,  the  ordinary  phonograph  for 
commercial  78-RPM  discs  was  called  a  "non-sync." 
This  obsolete  term  is  still  used  to  some  extent. 
33!/3-RPM   Discs   Now   Preferred 

78-RPM  phonograph  records  held  the  field  for  musi- 
cal recordings  in  spite  of  the  fact  that  33%-RPM  discs 
had  been  used  for  the  Vitaphone  talkie  records  and  for 
radio  transcriptions.  The  old  Victor  Talking  Machine 
Co.  made  a  valiant  attempt  to  introduce  musical  33's 
for  home  use,  but  without  much  success.  Incidentally, 
all  these  early  SS^-RPM  discs  were  made  with  the 
same  3-mil  grooves  used  for  78's,  not  the  finer  1-mil 
"microgrooves"  now  used  for  long-play  records,  and 
they  started  playing  at  the  inside  groove  and  ended  at 
the  outside  rim. 


Because  78's  are  no  longer  manufactured,  and  be- 
cause a  somewhat  limited  choice  of  music  is  available 
on  the  doughnut-shaped  45's,  the  emphasis  for  theatre 
music,  as  well  as  for  music  to  be  played  in  the  home, 
is  definitely  focused  upon  the  SS^-RPM  long-play 
records.  The  theatre  that  has  only  a  45-RPM  record 
player  is  cheating  itself  of  good  music. 

The  record  player  used  in  the  theatre  should  be  of 
the  4-speed  type  with  a  stereo  cartridge  in  the  33%- 
45  side  of  the  pickup  in  order  that  all  kinds,  speeds, 
and  sizes  of  records  may  be  played.  Aside  from  the 
retention  of  excellent  78's  which  are  still  present  in 
long-established  collections  of  fine  music,  it  is  best 
to  add  only  hi-fi  33's  to  a  record  collection. 

With  the  exception  of  a  somewhat  higher  noise  level 
and  a  more  restricted  dynamic  range,  the  later  78-RPM 
discs  made  of  plastic  are  the  equals  of  any.  Plastic  78's 
are  more  resistant  to  wear  than  the  soft  and  powdery 
shellac  records  made  for  many  years,  but  the  hardest 
and  most  wear-resistant  records  we  know  of  were  the 
78's  made  for  use  with  heavy  acoustic  reproducers  in 
the  days  before  electric  pickups.  These  ancient  discs, 
surprisingly,  were  also  pressed  from  a  material  having  a 
shellac  base! 
Needle  Wear  Problem 

Modern  33I/3-RPM  long-play  records  are  extraordi- 
narily sensitive  to  needle  wear.  This  is  due  to  the  finer 
stylus  point  required  to  fit  the  fine  1-mil  microgrooves, 
and  to  the  finer  sound  variations  in  the  grooves  oc- 
casioned by  extension  of  the  high-frequency  end  of 
the  sound  spectrum  to  12,000-18,000  cycles  and  by  an 
(Continued  on  Page  12) 


'here  is  a  FIRST  BEST  in  Anything! 

In  ARC  LAMPS 
IT  IS  THE  OPTICALLY  INTEGRATED 


C  S.  ASHCRAFT'S 


HHHnnn^HHHHH    (f 


® 


JfariiW,,, 

"    ■  *rh 

V  '  "• 

(If  ■• ."   mBF 

.'•  \' 

t   -     Jp 

(Patent  Pending) 


It  does  unheard  of  things  in  screen  lighting.  Such  as  ...  up  to 
100%  increase  in  screen  side-lighting. 

It  works  on  any  current  from  78  to  115  amperes.  It  does  it 
on  a  single  size  positive  carbon,  11mm  in  diameter. 

It  will  exceed  accepted  industry  standards  in  lighting  an  out- 
door screen  52  feet  wide.  It  is  the  answer  to  the  ill-lighted 
Drive-In  screen  up  to  95  feet  in  width. 

It  is  a  miserly  brute  in  its  operating  expenses.  Saves  you  up 
to  50%  in  carbon  costs. 

Want  proof?  Call  your  National  Theatre  Supply  Co.  man.  He 
will  prove  the  CORE-LITE  worth  in  indoor  or  drive-in  theatres 
with  existing  screens  and  lenses. 


Trademark  registered  and  copyrighted.  Patent  applied  for. 
The  C.  S.  Ashcraft  Mfg.  Co.,  Inc. 
36-32  Thirty  Eighth  Street,  Long  Island  City,  N.  Y. 

International  Projectionist 


January,  1963 


Theatre  Demonstrations  Set  Up 
To  Show  Core-Lite's  Effectiveness 


NEW  YORK  — The  new  Ashcraft 
Core-Lite  projection  arc  lamp,  spe- 
cially designed  and  marketed  to  re- 
place lamps  burning  9mm  copper 
coated  positive  carbons  and  lamps 
burning  9mm  and  10mm  black  ro- 
tating positive  carbons  in  indoor  the- 
atres, now  has  a  greatly  increased 
sales  probability  for  drive-in  the- 
atres, according  to  the  results  of 
tests  recently  completed  and  just 
released  by  Clarence  Ashcraft,  in- 
ventor and  manufacturer  of  the  new 
lamp. 

All  previous  tests  on  the  new  lamp, 
before  it  was  introduced  to  the  the- 
atre market,  were  conducted  by  us- 
ing currents  confined  to  ranges  be- 
tween 78  and  95  amperes.  Within 
these  limitations,  the  lamp  increased 
screen  lighting  and  light  distribution 
(side-lighting)  up  to  100%,  and 
saving  in  carbon  costs  were  as  much 
as   50%. 

Under  the  new  tests,  at  current 
ranges  between  95  and  115  am- 
peres, the  discovery  was  made  of 
the  even  greater  increased  center 
and  side  lighting  which  makes  the 
Core-Lite  now  particularly  useful  in 
small  to  medium  size  drive-ins,  the 
inventor  states.  These  higher  cur- 
rent tests  followed  tests  made  in 
early   December  by  Merle  Chamber- 


lain, technical  supervisor  for  Metro- 
Goldwyn-Mayer  Pictures,  at  the  com- 
pany's studio  in  California.  Remarks 
made  by  Chamberlain,  following  the 
coast  tests  were  highly  laudatory. 

It  has  been  stated  by  carbon  com- 
pany technicians  and  by  field  repre- 
sentatives of  the  now  defunct  Motion 
Picture  Research  Council  that  among 
the  thousands  of  drive-ins  in  the  350 
to  800  car  capacity  range  screen 
light  has  been  woefully  inadequate. 
The  owners  of  these  theatres  have 
been  so  informed  and  are  well 
aware  of  the  poor  light  on  their 
screens.  It  has  not  been  possible, 
however,  up  to  now  to  produce 
greater  screen  light  at  costs  these 
smaller  drive-in  theatres  could  af- 
ford. With  Core-Lite,  it  is  estimated 
that  carbon  savings  would  more  than 
pay  for  additional  Core-Lite  equip- 
ment expense  in  about  4Vk  years. 
This  benefit  would  be  in  addition 
to  the  resulting  increase  in  screen 
light,  both  center  and  at  the  sides, 
where  the  drive-ins  are  most  defi- 
cient. Up  to  20%  in  center  lighting 
and  up  to  100%  increase  in  side 
lighting  will  result  by  using  the 
Core-Lite,   Ashcraft   has   stated. 

National  Theatre  Supply  Co.,  dis- 
tributors of  the  lamp,  has  stated  that 
it    will    demonstrate   the   new    Core- 


There's   Plenty  for   You   At 

CENTURY! 

.  .  and  from  CENTURY  only 


dramatic.  New  ALL  TRANSISTOR 
sound  systems 


True  high-fidelity, 

distortion  free. 
*Low  installation  cost, 

minimum  space  needs. 


Increased   reliability, 
less   maintenance. 
No  vacuum  tubes,  no 
photoelectric  cells. 


*and  the  only  American-made  70  mm  35 
theatre  projection  systems 


SEE 

YOUR  CENTURY 

DEALER 


.  .  .  for  bigger,  brighter  projection. 

PROJECTOR  CORP. 


New  York  19,  N.  Y. 


Lite  in  theatre  booths,  using  the  the- 
atre's now  existing  lenses  and 
screens,  to  support  its  claim  for  the 
Core-Lite's  efficiency,  as  contrasted 
with  the  arc  lamp  equipment  now  in 
the  theatre.  There  will  be  a  proven 
greatly  increased  light,  greater  dis- 
tribution of  light,  combined  with 
proven  decreased  carbon  costs,  ac- 
cording to  both  the  inventor  and 
the    distributors. 

In  relation  to  its  offered  no-cost 
demonstration  in  theatres,  National 
Theatre  Supply  Co.'s  President,  W. 
J.  Turnbull,  has  stated,  "The  Core- 
Lite  arc  lamp  is  a  piece  of  equip- 
ment that  most  indoor  and  drive-in 
theatres  simply  cannot  afford  to  be 
without.  Any  of  our  branch  mana- 
gers will  arrange  a  demonstration  to 
prove  the  remarkable  capabilities  of 
the  new  lamp."  iP 

25-30  Club  Installs  New 
Officers  at  Dinner-Dance 

NEW  YORK— The  25-30  Club's 
Annual  Installation  Dinner-Dance 
were  held  in  the  grand  ballroom  of 
the  Hotel  Empire  here.  Formal  in- 
stallation of  the  new  slate  of  officers 
occured  at  this  festive  occasion. 

The  club  elected  William  C. 
Anderson  as  president  and  Morris  I. 
Klapholz   as   vice   president. 

Reelected  were  Morris  J.  Rotker  as 
recording  secretary,  Jack  Krimon  as 
financial  secretary,  and  Nathan 
Strauss  as  sergeant-at-arms.  Harry 
Bergoffen,  trustee  1963,  Charles 
Sherman,  trustee  1964,  Robert  Saun- 
ders, trustee  1965  were  in  the  in- 
stallation ceremonies.  iP 


MONTHLY  CHAT 


(Continued  from  Page  3) 


he  can't  get  the  results  he  is  ambi- 
tious to  achieve. 

If  the  theatre  owner  has  confidence 
in  his  projectionists,  and  the  expert 
communicates  his  knowlege  of  pro- 
jection, he  will  consult  the  projec- 
tionist on  the  new  equipment  he  is 
buying.  Of  course,  the  projection- 
ist has  a  responsibility  in  that  case. 
But  the  good  projectionist  willingly 
shoulders  the  responsibility,  being 
assured  by  his  knowledge  about  the 
modern  theatre  equipment,  and  is 
in  a  way  complemented  by  the  ex- 
hibitor's regard  for  his  know-how 
about  projection  and  sound  repro- 
duction. 

Meanwhile  some  exhibitors  have 
museum  pieces  in  their  booths  and 
advertise  "wide  screen"  just  like  the 
showcases;  thus  they  pay  lip  service 
to  good  projection.  IP 


International  Projectionist 


January,  1963 


Requirements  of  a  Proficient 
Motion  Picture  Projectionist 


Training  of  the  young  projectionist  should  start 
with  a  mastering  of  the  basic  principles  of  his 
craft  —  the  working    projectionist   is    his    mentor. 


By  James   A.   Wagoner 

This  survey  will  review  four  basic 
qualifications  of  a  motion  picture 
projectionist.  Since  the  inception  of 
television  it  has  become  increasingly 
important  that  the  theatre  patron 
benefit  from  the  finest  projection  and 
sound  available  because  a  superior 
picture  with  good  quality  sound  is 
the  one  real  asset  of  the  motion 
picture   theatre. 

The  theatre  customer  becomes  a 
part  of  another  world.  Anytime  this 
illusion  of  "make-believe"  breaks,  the 
basic  goal  of  the  motion  picture 
theatre  suffers.  In  order  to  acquire 
the  skill  of  a  good  projectionist,  one 
must    keep    this    thought    uppermost 


in  his  mind,  for  without  it  as  a 
goal,  the  other  qualifications  lose 
their  meaning  through  lack  of  pur- 
pose. In  order  for  a  projectionist  to 
perform  his  duties  well,  he  must  be 
come  proficient  in  the  following  four 
areas : 

1.  Electronics 

2.  Mechanics 

3.  Light  and  Lenses 

4.  Other   requirements 

Projectionist  Should  Know  Electronics 

Today's  projection  room  is  a 
maze  of  electronic  marvels,  and  the 
industry  provides  more  complex 
equipment  as  time  goes  on.    Conse- 

( Continued  on  Page  15) 


ORLOVE  OFFERS  ANTIQUES  —  Anybody  want  a  collection  of  early  motion 
picture  projection  equipment  suitable  for  display  in  a  cinematic  museum?  Louis 
donate  to  any  museum  which  will  give  it  careful  attention  and  a  proper  display. 
W.  Orlove,  veteran  film  exploiteer  now  handling  20th  Century  -Fox  campaigns 
in  the  Minneapolis-Milwaukee  area,  has  a  number  of  unique  items  which  he'll 
Orlove's  hobby  began  in  1925  when  he  acquired  a  Kinedrome  projector  from  the 
Old  Theatorium  in  Milwaukee.  He  has  gathered  many  other  interesting  items 
since  but  lacks  the  room  to  display  them.  Interested  curators  can  reach  Orlove 
at  1618  N.  54th  St.,  Milwaukee. 


A  Rectifier 
That  Is 
Truly  Different 


BI-POWR 


A  new  type  silicon  diode  stack 
transformer  rectifier  designed 
as  a  power  source 

FOR  THE  OPERATION 
OF  TWO  ARC  LAMPS 

No  flicker  or  other  change  in  projected 
light  at  the  time  of  striking  the  second 
arc. 

DUAL  OUTPUT  RATING  OF 

60-85/60-85  AMPS/35-45  VOLTS 

90-135/90-135  AMPS/56-70  VOLTS 

120-160/120-160  AMPS/58-75  VOLTS 

•k  Designed  for  operation  on  208/ 
220V  50/60  cycle,  three  phase  A.C. 

-k  Two  independent  stack  assemblies, 
one  for  each  output. 

ic  "Lo-Strike"*  feature  associated 
with  each  output  protects  stacks 
from  overload  and  prevents  destruc- 
tion of  carbon  crater  upon  striking 
the  arc. 

•A-  Exclusive  automatic  reset*  permits 
immediate  restriking  if  arc  is  not 
established  the  first  time. 

ic  A  choke  in  the  D.C.  output  circuit 
makes  for  quiet  operation  and  holds 
ripple  to  less  than  3%. 

-k  Down-draft  fan  cooled.  No  foreign 
matter  can  be  drawn  into  the  equip- 
ment. 

+  Class  H  glass  insulated  trans- 
formers. 

Send  for  literature. 

THE  STRONG  ELECTRIC  CORP. 

31  City  Pork  Avenue 

Toledo  1,  Ohio 

"Not    supplied    as    regular   equipment 

on  60-85  ampere  model. 


International  Projectionist 


January,  1963 


FACT  IS  a  crisp,  sparkling  negative  must  have  top-quality  prints.  Otherwise,  it  can't  do  its  job,  and 
your  message  falls  flat  on  its  face,  wasting  production  time  and  money— station  time,  too,  if  your 
film's  on  TV.  Moral:  Go  Eastman  all  the  way— negative  and  print-stock.  And  in  the  case  of  ques- 
tions—production, processing,  projection— always  get  in  touch  with  Eastman  Technical  Service. 


Nobody 

likes 

flat 

prints 

either.. 


For  further  information,  please  write  or  phone:  Motion  Picture  Film  Department, 


EASTMAN  KODAK  COMPANY,  Rochester  4,  N.  Y.  Or-for  the  purchase  of  film: 
W.J.  German,  Inc.  Agents  for  the  sale  and  distribution  of  Eastman  Professional 
Film  for  Motion  Pictures  and  TV,  Fort  Lee,  N.J.,  Chicago,  III.,  Hollywood,  Calif. 


EASTMAN  FUL 


fl 


(Lateral 

movement 
only 


;    Costal 


QAAon  autczL-^ 


crystal 


^sStet^e  ogh  on  i 


o^ 


FIG.  2 — The  piezoelectric  crystal  of  a  monaural  pickup 
is  "twisted"  in  only  one  direction,  the  lateral  direction  paral- 
lel to  the  variations  of  the  constant-depth  groove.  The  crystal 
thus  generates  fluctuating  sound  currents.  A  stereo  pickup 
works  the  same  way,  but  it  has  two  crystals  positioned  in 
planes  90  degrees  apart.  One  crystal  responds  only  to  the 
variations  in  one  wall  of  the  record  groove,  and  the  other 
crystal  responds  only  to  the  variations  recorded  in  the  other 
wall.  Each  crystal,  accordingly,  reproduces  one  of  two 
separate  channels  of  sound. 

DISC  REPRODUCERS 

from  page  7 
average  linear  groove  speed  only  42.7%  that  of  78's. 
A  slightly  worn  needle  will  distort  the  sound  more  badly 
on  33's  than  on  78's,  while  a  severely  worn  needle  may 
skip  grooves,  repeat  grooves  on  overmodulated  pas- 
sages, and  damage  the  record. 

Oscilloscopic  tests  which  reveal  distortion  in  high- 
frequency  waveforms  lead  us  to  the  conclusion  that 
standard-groove  78-RPM  records  are  best  limited  to 
8000  cycles,  while  microgroove  33's  cannot  go  much 
beyond   10,000  cycles  without  distortion. 

As  a  matter  of  fact,  nothing  in  the  way  of  audible 
"realism"  is  provided  by  frequencies  higher  than  10,- 
000  cycles,  which  is  more  than  twice  as  high-pitched  as 
the  highest  note  on  a  piano  keyboard.  Statements  by  re- 
cording companies  (attempting  24,000  cycles)  to  the 
effect  that  excessively  high  frequencies  add  realism 
"even  though  they  are  not  heard"  are  pure  balderdash. 
Commercial  amplifiers  and  speakers  cannot  reproduce 
24,000  cycles;  and  few  go  up  as  high  as  15,000  cycles. 

It  has  been  said  that  only  "bulldogs  and  babies" 
can  hear  up  to  30,000  cycles.  The  average  young  adult 

12 


can  probably  hear  sounds  as  high  as  15,000  cycles,  and 
in  some  cases  up  to  20,000.  Sounds  higher  than  10,000 
cycles  are  scarcely  audible  to  anyone  over  60  years  of 
age. 

To  a  person  who  can  easily  hear  10,000  cycles, 
this  extremely  high-pitched  tone  sounds  like  a  harsh 
whistling  hiss  totally  devoid  of  timbre,  or  "tone  color." 
It  has  no  timbre  because  its  harmonic  (20,000  cycles, 
30,000  cycles,  and  40,000  cycles  for  the  first  three  har- 
monics) are  too  high  to  be  audible,  even  if  really 
present.  (The  first  three  or  four  harmonics  establish 
the  general  character  of  any  tone — fluty,  reedy,  dull, 
piquant,  etc.) 

A  worn  needle  used  on  33V3-RPM  discs  will  distort 
the  lower  as  well  as  the  higher  frequencies,  and  ac- 
centuate certain  frequencies.  Such  a  needle  may  skip 
grooves  and  damage  the  record.  Sapphire  and  ruby 
needles  have  a  relatively  short  life  and,  in  general, 
are  rather  a  nuisance  with  long-play  records.  Diamond 
needles  have  a  useful  life  of  20  to  100  times  the 
life  of  sapphire  needles,  and  should  be  installed  at  the 
outset.  Diamond  needles  cost  only  4  or  5  times  as  much 
as  the  sapphire  ones,  and  hence  represent  a  real 
economy. 

Use  Only  All-Speed   Stereo   Players! 

This  writer  very  strongly  recommends  the  use  of  a 
combination-speed  record  player  (16,  45,  S3Ys,  and  78 
RPM)  fitted  with  a  flip-over  cartridge,  each  side  of 
which  has  its  own  needle.  One  side  of  the  pickup 
plays  45  and  33%  microgroove  records,  while  the 
other  side  is  for  standard  78's.  Be  sure  that  the  micro- 
groove  side  of  the  cartridge  is  "stereo"  no  matter 
whether  the  noiv  common  stereo  discs  are  reproduced 
monaurally    or    stereophonically! 

On  account  of  the  musical  limitations  of  45-RPM 
records,  and  the  likelihood  that  this  speed  may  be  dis- 
continued in  favor  of  33's  for  popular  "singles,"  it 
seems  best  to  concentrate  exclusively  on  regular  12- 
inch  33%-RPM  long-play  discs,  both  high-fidelity  mon- 
aural and  stereophonic. 

An  ordinary  monaural  "lateral-cut"  record  has  only 
sidewise  variations  of  grooves  of  constant  depth,  but  a 
dual-channel  stereophonic  record  has  two  completely  in- 
dependent sets  of  variations  in  its  grooves.  One  chan- 
nel of  sound  is  carried  by  lateral  variations  tilted  45° 
from  the  surface  plane  of  the  disc,  while  the  other 
set  of  variations  for  the  second  channel  is  tilted  45°  in 
the  opposite  direction.  The  two  sets  thus  have  a  maxi- 
mum angular  separation  of  90°. 

When  the  same  sound  is  present  in  both  channels, 
the  angular  difference  of  the  plane  of  needle  movement 
from  the  surface  plane  of  the  record  is  less  than  45°, 
that  is,  45° — n°,  in  which  n  is  the  angle  of  needle 
movement  on  the  side  of  the  groove  (right  or  left 
sound  channel)  having  the  weaker  signal.  In  the  case  of 
a  regular  monaural  record  played  with  a  stereo  pickup 
( which  improves  the  sound,  by  the  way ) ,  the  sidewise 
needle  movement  in  the  plane  of  the  record  surface  is 
exactly  the  same  as  in  a  stereo  record  having  identical 
signals  of  equal  strength  in  both  channels.  (45° — 45° 
=0°.)  The  result  is  the  same  sound  from  the  left  and 
right  speakers. 

To  repeat:  Stereophonic  records  are  now  so  com- 
monplace that  the  record  player  used  in  the  theatre 
should  be  equipped  with  a  stereo  pickup  cartridge  no 
matter  whether  the  sound  is  played  monaurally  through 
just  one  channel  or  stereophonically  through  two  or 
three  amplifier  and  speaker  channels. 


International  Projectionist 


January,  1963 


Voltage 
gain 


Power  tubes 


Ton* 


Volume 


P^d 


T~p 


<i-s- 


Stereo 
pickup 


T  hUh 


/■wi- 


il1 


Balance 


r 


FIG  3 — A  simple  stereophonic 
phonograph  amplifier  circuit  by  120v.  AC 
Telefunken,  Germany.  Note  the 
common  "floating  ground" 
(heavy  wire)  shared  by  the  two 
sound  channels. 


All  monaural  records  can  be  played  with  a  stereo- 
phonic pickup,  but  stereophonic  records  CANNOT  be 
played  with  a  monaural  pickup!  Attempts  to  play 
stereo  records  with  ordinary  monaural  reproducers  will 
result  in  severe  needle  chattering,  distorted  sound,  and 
damage  to  the  record. 
Connecting   Stereo  Cartridges 

The  prevalence  of  stereo  records  should  be  reason 
enough  for  replacing  all  regular  33%-RPM  pickup 
cartridges  with  stereo  cartridges.  (Yes,  these  play  45's, 
too.)  Just  make  sure  that  the  correct  type  and  style 
of  replacement  cartridge  is  installed.  There  are  no 
problems  with  crystal-type  cartridges.  If  the  theatre 
amplifier  system  is  single  channel,  only  the  two  out- 
side leads  from  the  crystals  are  used,  and  these  are 
connected  to  the  high-impedance  phono  input  of  the 
amplifier  in  the  same  way  as  a  monaural  pickup.  The 
"common-ground"  wire  which  connects  the  crystals 
of  a  flip-over  stereo  cartridge  is  not  connected  to  the 
amplifier  for  single-channel  reproduction. 

The  two  back-to-back  units  of  a  flip-over  cartridge 
having  a  stereo  unit  on  one  side  for  all  33's  and  45's, 
and  a  monaurel  unit  on  the  other  side  for  78's,  are 
sometimes  interconnected  internally,  but  a  common- 
ground  terminal  or  wire  is  brought  out.  If  there  are  four 
terminals,  two  are  connected  to  each  other  (the  so- 
called  common  ground),  and  the  remaining  two  go  to 
the  amplifier  input.  If  a  stereo  sound  system  is  avail- 
able, the  common  ground  (left  connected)  is  tapped 
and  connected  to  the  "neutral"  or  "floating- 
ground"  terminal,  while  the  right — and  left — channel 
leads  are  connected  to  the  proper  input  terminals. 

Most  commercial  stereo  phonographs  for  the  home 
have  a  double  preamplifier  sharing  a  common  floating 
ground.  Indeed,  amplification  in  the  voltage-gain  stage 
is  usually  accomplished  by  a  single  tube  having  a  double 
cathode-grid-plate  construction,  such  as  the  12AX7.  This 
functions  as  two  separate  tubes.  In  the  power-gain  stage, 
however,  two  separate  power  tubes  are  the  rule. 

Because  a  stereo  record  player  has  only  two  chan- 
nels, right  and  left,  it  is  necessary  to  obtain  a  mixed 
signal  for  the  center  channel  of  a  3-channel  theatre 
sound  system.  This  is  absolutely  mandatory  when  there 
is  only  one  set  of  "woofers"  for  the  non-directional 
bass  tones.  If  the  sound  system  has  internal  connections 


Tube  filaments 


Rectifier 

-WAN M 


2 


International  Projectionist 


January,  1963 


for  reproducing  the  low  frequencies  in  all  three  Cinema- 
Scope  channels  through  the  single  woofer,  no  problem 
arises.  Otherwise  the  bass  tones  of  the  records  would 
be  totally  lost.  It  is  best  to  consult  the  theatre's  sound 
service  engineer  about  this  matter. 

Compensation  for  the  frequency-response  character- 
istics of  a  record  reproducer  must  be  provided  unless 
the  stereophonic  amplifiers  have  phono  input  termi- 
nals. A  CinemaScope  magnetic  soundtrack  amplifier  has 
a  rather  strong  treble  boost;  and  the  low-impedance 
inputs  of  the  film  preamplifiers  are  unsuitable  for 
crystal  pickups.  The  following  amplifier  stage  may  or 
may  not  provide  sufficient  amplification  for  a  fre- 
quency-compensated crystal-cartridge  signal.  If  not, 
the  output  of  the  preamplifier  ol  a  commercial  phono- 
graph may  be  used. 

All  of  these  difficulties  may  be  avoided,  of  course, 
by  using  the  monaural  optical-sound  system,  which  is 
exactly  what  is  done  in  many  theatres.  The  directional 
effect  of  stereo  records  is  lost,  but  the  quality  of  the 
sound  is  entirely  satisfactory  if  the  low-frequency  re- 
production is  sufficiently  strong  to  balance  the  high- 
frequency  reproduction.  A  high-frequency  response 
which  is  too  strong  makes  the  sound  "thin"  and  harsh. 
High  frequencies  may  be  attenuated  if  a  separate  phono 
preamplifier  is  used  (highly  recommended)  by  shunt- 
ing a  capacitor  of  0.01  to  0.1  mf.  across  the  preampli- 
fier  output. 

With  the  technical  details  of  record  players  and 
their  connections  out  of  the  way,  attention  should  be 
devoted  to  building  up  a  good  record  library  contain- 
ing as  many  different  types  of  music  as  possible — 
jazzy,  moody,  gay,  atmospheric,  etc.  It  will  thus  be  pos- 
sible to  match  the  overture  and  intermission  music  to 
any  conceivable  type  of  feature  film.  And  if  "locale" 
music  is  at  hand — French.  Latin  American,  western, 
hillbilly,  oriental,  etc. — the  matching  of  music  and  mood 
will  be  all  the  closer. 

Next  month's  article,  however,  will  concentrate  on 
theatre-organ  music  in  response  to  numerous  requests 
from  projectionists  anent  suitable  organ  records.  We'll 
review  and  recommend  quite  a  few  such  discs;  and 
more  than  that,  we'll  delve  into  the  mechanics  and 
audio  magic  of  the  "Mighty  Wurlitzer"! 
(To   Be  Continued) 

13 


'."--;- 


Automatic  Projection:  A  Progress  Report 


In  the  past  IP  has  kept  projec- 
tionists up  to  date  on  automatic 
projection  as  it  has  developed  in 
Great  Britain,  under  the  particu- 
lar circumstances  that  make  the 
system  more  practical  than  many 
other  areas.  U.  S.  projectionists 
have  little  to  be  concerned  about, 
according  to  this  recent  TOA  re- 
port. 

We  wrote  recently  to  exhibitors  in 
England,  asking  for  a  report  on 
"automatic  projection"  in  use  in  the 
United  Kingdom.  While  we  recog- 
nize that  local  safety  ordinances 
would  bar  the  system  in  many  Am- 
erican communities,  and  the  reac- 
tion of  the  projectionist  union  would 
be  an  important  factor  in  the  accept- 
ance of  this  equipment  in  the  United 
States,  we  felt  the  reply  was  so  in- 
teresting, that  it  merits  dissemination. 

Here  is  the  report: 
*        *        * 

"Here  in  the  United  Kingdom  this 
automatic  equipment  is  much  beyond 
the  testing  stage;  indeed,  it  is  in- 
stalled in  over  350  cinemas  and  dur- 
ing the  last  4-5  years  has  given  a 
good  account  of  itself. 

The  automatic  equipment  is  of  two 
distinct   types,   namely : 

(1)  Projection  Room  Automatic 
Equipment 

(21  Automatic  with  Remote  Con- 
trol 

In  the  former  type  the  entire  pro- 
gramme can  be  controlled  by  an  elec- 
tric clock,  that  is  to  say,  at  a  pre- 
determined time  the  house  lights  can 
be  lowered,  the  screen  curtains  open- 
ed, and  the  projectors  brought  into 
operation  automatically.  Similarly 
and  again  automatically,  when  a  film 
is  completed,  the  curtains  can  be 
drawn  and  the  house  lights  raised — 
and  so  on  throughout  the  day's  per- 
formance. All  the  projectionist  has 
to  do  is  to  load  the  machines  and 
thread  the  film  through  the  gate,  re- 
wind in  the  normal  manner  and  re- 
place carbons  when  necessary.  The 
projectionist  is  also  responsible  for 
focussing  and  framing. 

The  foregoing  is  the  "full  works," 
but  a  shortened  version — which  is 
the    more    popular — does    not    auto- 


matically control  the  house  lights, 
curtains,  masking,  etc.,  but  controls 
the  projectors,  and  here  again,  the 
>rojectionist  is  responsible  for  thread- 
ing up  the  film,  rewinding,  replacing 
arc  carbons,  focussing  and  framing. 
In  the  smaller  theatres  with  a 
screen  up  to  35  ft.  wide,  the  Xenon 
(lamp)  arc  is  now  being  widely  used 
with  automatic  control  equipment, 
since  it  lends  itself  readily  to  auto- 
matic control  and  obviates  the  neces- 
sity for  replacing  carbons. 

National  Safety   Laws 

Cinemas  in  the  United  Kingdom 
operate  under  safety  regulations  is- 
sued by  the  secretary  of  state,  and  in 
1958  the  regulations  were  amended 
to  take  account  of  this  automatic 
equipment.  This  permits  the  equip- 
ment to  be  in  use  without  a  projec- 
tionist being  in  the  booth — although 
his  absence  is  limited  to  fifteen  min- 
utes. The  reason  for  this  is  that  a 
projectionist  must  go  to  the  booth 
once  every  fifteen  minutes  to  remove 
the  film  that  has  been  shown  and  re- 
place the  next  reel. 

The  regulations  require  a  warning 
bell  to  sound  in  the  projection  room 
suite  and  to  be  in  a  position  where 
another  member  of  the  staff  is  norm- 
ally employed  and  can  hear  it — in 
case  anything  should  go  wrong  with 
the  automatic  control. 

There  has  been  no  active  opposition 
to  automatic  equipment  by  the  labor 
union,  although  where  the  equipment 
is  installed  there  was  a  tendency  to 
demand  a  higher  minimum  wage. 
What  happens  in  practice,  however, 
is  that  in  theatres  that  previously  em- 
ployed a  total  of  four  or  five  pro- 
jectionists, there  are  only  two  on  the 
payroll — one  on  duty  at  any  given 
time.  These  two  operators  receive  a 
wage  higher  than  the  minimum  agre- 
ed between  the  employers  and  the 
union,  but  the  wage  is  a  matter  for 
negotiation  between  the  employer 
and  the  individual  projectionist. 

It  must  be  remembered  that  there 
is  a  rather  acute  shortage  of  projec- 
tionists in  the  United  Kingdom  and 
many  cinemas  are  able  to  keep  going 
only  because  automatic  equipment 
has  been  installed. 


Remote  Control  System 

Automatic  equipment  with  remote 
control  is  installed  in  about  14  cine- 
mas in  the  United  Kingdom  and  is 
operating  very  satisfactorily.  The 
automatic  side  includes  the  automat- 
ic changeover  from  one  machine  to 
the  other  and  automatic  close-down 
should  anything  go  wrong  with  the 
light  source  circuit  or  the  motor 
circuit.  The  remote  control  consists 
of  a  control  board  placed  in  a  suit- 
able position  in  the  auditorium  from 
which  it  is  possible  to  start  or  stop 
either  machine,  to  focus  and  frame 
the  picture  and  to  control  the  volume 
of  sound.  Although  at  the  present 
time  a  projectionist  is  employed  to 
operate  the  remote  control,  the  con- 
trol is  so  simple  that  an  unskilled 
person,  e.g.  an  usherette  or  under- 
manager,  could  run  the  show. 

With  this  equipment  it  is,  of  course, 
still  necessary  to  employ  a  projec- 
tionist to  change  the  reels  and  re- 
wind, but  experiments  are  already 
being  carried  out  with  the  possibility 
of  accommodating  the  entire  pro- 
gramme on  two  machines  and  to  have 
automatic  rewind.  Indeed,  we  have 
a  prototype  equipment  in  two  cine- 
mas in  a  town  in  the  United  Kingdom 
where  8000  ft.  spools  are  fitted  to 
the  machines.  Since  they  are  special- 
ist houses,  their  programmes  never 
exceed  16,000  ft.  In  this  particular 
instance,  we  have  one  operator  in 
charge  of  the  two  cinemas.  The  re- 
mote control  is  situated  at  the  rear 
of  the  auditorium  and  is  in  the  charge 
of  the  under-managers." 

It  is  obvious  from  the  above  report, 
TOA  points  out,  that  the  equipment 
is  working  satisfactorily,  and  is  giving 
English  theatres  the  equivalent  of  a 
one  man  booth.  If  the  remote  control 
operation  does  not  evoke  severe  labor 
union  reaction,  it  is  also  obviously 
conceivable  that  a  very  limited  num- 
ber of  trained  service  projectionists 
could  take  care  of  a  large  number  of 
British  theatres  within  a  small  geo- 
graphic area,  with  unskilled  theatre 
help  watching  the  individual  theatre's 
control  panel. 

It    is    TOA's    understanding    that 


BRIGHTER   LIGHT 
LONGER   BURNING 
SHARPER   PICTURE 
free  Test  Samples 


mwrnv* 


*T?W»«f»»WF» 


wnamS^SL(2m6o*t4 


CARBONS  INC.,  BOONTON,  N.  J. 


STEADIER   LIGHT 
LESS  ATTENTION 
PERFECT  COLOR  BALANCE 
Free  Carbon  Chart 


14 


International  Projectionist 


January,  1963 


British  laws  regarding  booth  opera- 
tion would  probably  have  to  be  mod- 
ified if  remote  operation  is  to  be- 
come widespread.  Unlike  the  U.  S., 
Britain  has  one  safety  code  adminis- 
tration  that  functions  nationally. 

The  reported  shortage  of  union 
projectionists  in  England,  coupled 
with  the  distressed  state  of  the  Eng- 
lish exhibition  industry,  set  the  stage 
in  the  United  Kingdom  for  this  tech- 
nological advance.  This  would  prob- 
ably not  be  the  case  in  the  United 
States,   the   association   comments. 

Differences   Highlighted 

The  British  situation  is  yet  another 
highlight  of  the  differences  between 
the  British  and  American  theatre  in- 
dustries. In  Britain,  as  an  example, 
there  are  no  anti-trust  laws  similar 
to  ours.  In  enforcing  their  "FIDO" 
plan  to  keep  current  feature  films  off 
television,  British  distributors,  with 
the  support  of  exhibitors,  have  re- 
fused to  supply  film  to  a  violator, 
and  the  courts  have  condoned  this 
boycott.  Under  the  Eddy  Plan,  Brit- 
ish theatres  pay  a  small  tax  on  each 
admission,  and  the  funds  are  used  to 
subsidize  new  production.  Also,  the 
British  have  a  mandatory  classifica- 
tion system.  iP 


Pine  Hollow  Theatre 
Uses  Century  Sound 

An  article  in  the  November  issue 
of  International  Projectionist  de- 
scribed the  sound  system  of  the  Pine 
Hollow  Theatre  incorrectly.  The 
Pine  Hollow  is  equipped  with  the 
Century  Projector  Corp.  all-transis- 
tor 6-4-1  channel  sound  system.  The 
sound  equipment  was  furnished  by 
Century  dealer  Joe  Hornstein,  Inc., 
and  installed  by  engineer  Joe  Kelley 
of  the  Skouras  circuit.  iP 


Reevesound  Company 
Retains  Barbara  Skeeter 

NEW  YORK— Reevesound  Com- 
pany, Inc.,  Long  Island  City  motion 
picture  engineering  firm,  announced 
it  has  retained  New  York  consulting 
publicist  Barbara  Skeeter  to  expand 
its  information  program. 

Reevesound  designs  specialized 
sound  and  visual  communications 
systems  for  governments  and  indus- 
trial firms. 

A  former  director  of  public  rela- 
tions for  the  Society  of  Motion  Pic- 
ture and  Television  Engineers,  Miss 
Skeeter  has  a  broad  background  in 
corporate  and  association  publicity 
and    newspaper   work.  iP 

International  Projectionist 


PROFICIENCY 

from  page  9 
quently,  the  person  manning  this 
equipment  should  have  as  much 
knowledge  as  possible  about  the 
projection  room.  For  example,  a 
knowledge  of  the  electronic  funda- 
mentals connected  with  sound  be- 
comes increasingly  important  be- 
cause the  patrons,  with  their  own 
Hi-fis  at  home,  require  high  stan- 
dards in  sound  reproduction.  The 
added  complexity  of  the  four-and  six- 
track  stereophonic  systems  is  a  real 
challenge  to  the  theatre  projectionist. 
Although  the  sound  service  engineer 
maintains  this  system  in  many 
theatres,  he  cannot  be  present  at 
all  theatres  all  of  the  time;  there- 
fore, a  major  responsibility  rests 
with  the  projectionist  for  keeping 
the  system  in  good  condition. 

It  is  the  good  projectionist  who 
possesses  enough  knowledge  about 
his  sound  system  that  he  can  make 
emergency  repairs  when  necessary. 
The  patron  becomes  disgruntled  if 
a  sound  outage  occurs  and  he  must 
wait  until  a  sound  service  engineer 
comes  from  across  town  to  repair  it. 

Though  it  is  the  most  complicated 
part  of  the  projection  room  equip- 
ment, the  sound  system  does  not 
constitute  the  only  electronic  ap- 
paratus. The  various  motors,  the 
arc  lamps,  the  motor-generators  and 
the  rectifiers  must  also  function 
properly  so  that  the  show  goes  on  the 
screen  in  a  pleasing  manner.  In  this 
area,  the  projectionist  has  a  greater 
responsibility  than  in  servicing  sound 
systems  because  he  must  institute  the 
maintenance  procedures.  Therefore, 
a  thorough  knowledge  of  the  elec- 
tronic fundamentals  involved  is  a 
prerequisite  of  proper  servicing.  As 
the  equipment,  such  as  the  arc  lamp, 
becomes  increasingly  simple  to  oper- 
ate, its  construction  becomes  more 
complicated.  Consequently,  an  in- 
creasing knowledge  of  electronics 
and  theories  explaining  the  opera- 
tion of  these  systems  is  another  rea- 
son why  this  subject  represents  a 
basic  requirement  for  all  projection- 
ists. 
Mechanics   Should    be   Mastered 

The  motion  picture  projector  is 
not  only  an  electronic  marvel,  but 
it  is  also  one  of  the  most  intricate 
machines  in  today's  world  of  auto- 
mation. 

Again,  the  burden  for  adequate 
maintenance  and  servicing  rests  with 
the  person  in  the  projection  room; 
it  is  only  natural,  therefore,  that 
this  man  acquire  a  knowledge  of 
mechanics  so  that  he  can  adequately 
perform  the  duties  required  of  him. 
Unless    the    basic    mechanical    func- 

January  1963 


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15 


lions  of  the  projector  become  a  part 
of  his  knowledge,  he  will  have  diffi- 
culty   maintaining    equipment. 

For  example,  a  knowledge  of  how 
the  star-wheel  intermittent  operates 
precludes  its  servicing  as  directed  for 
a  specific  brand  of  projector.  With 
an  understanding  of  the  mechanical 
essentials,  the  projectionist  can  then 
make  the  necessary  repairs  and  ad- 
justments to  his  particular  installa- 
tion. 

Light   and    Lenses    Must   be    Understood 

The  third  basic  requirement  for 
the  well-equipped  projectionist  is  an 
understanding    of   the    principles    of 


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optics.  This  requirement  is  impor- 
tant because  of  the  ever-changing 
methods  of  presentation  and  the 
problems  introduced  by  the  drive-in 
theatre.  With  more  and  more  thea- 
tres installing  70  mm.  equipment  is 
is  the  projectionist's  responsibility  to 
make  sure  that  the  effect  of  the  pre- 
sentation meets  the  requirements  de- 
manded  by  the  public. 

For  instance  in  a  large  downtown 
theatre,  the  new  70  mm.  equipment 
was  installed  haphazardly  and  it  was 
several  days  before  the  performance 
met  already  established  standards. 
Although  this  may  be  a  rare  case, 
the  man  in  charge  of  running  the 
show  should  do  his  best  to  prevent 
such  occurrences.  Even  though  such 
practices  are  not  the  fault  of  the  pro- 
jectionist, a  man  with  a  thorough 
knowledge  of  optics  is  valuable  when 
new  theatres  go  up  or  when  estab- 
lished theatres   are  remodeled. 

Before  concluding  these  three  sec- 
tions here  is  a  brief  summary.  In 
order  to  do  his  job  adequately,  the 
theatre  projectionist  needs  an  under- 
standing of  ( 1 )  basic  electronics, 
(2)  basic  mechanics,  and  (3)  basic 
optics.  A  problem  arises  as  to  how 
one   can    properly    gain   this   knowl- 


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edge.  Experience  is  particularly  need- 
ed for  mechanics,  but  the  theories  of 
light  and  electronics  require  outside 
study.  If  possible,  an  engineering 
program  at  one  of  the  leading  uni- 
versities would  be  beneficial,  but 
since  many  projectionists  cannot 
undertake  such  a  program,  there  are 
other  methods  of  learning  this  mater- 
ial. For  example,  there  are  many 
specialized  electronic  schools 
throughout  the  country,  and  corres- 
pondence courses  also  present  a 
method  of  gaining  necessary  knowl- 
edge. 
Positive  Altitudes  Are  Necessary 

This  section  includes  the  most  im- 
portant data  in  the  report.  In  order 
to  perform  properly  the  skills  men- 
tioned, the  three  kinds  of  knowledge 
just  discussed  play  an  important  role. 
One  authority  defined  a  projectionist 
who  had  these  skills  as  a  "presenta- 
tion man."  The  term  describes  the 
actual  running  of  the  show  as  op- 
posed to  maintaining  the  equipment. 
It  is  in  mechanics  that  experience 
proves  most  helpful,  but  just  because 
a  man  has  many  years  experience,  he 
does  not  necessarily  become  an  ex- 
pert "presentation  man."  There  are 
other  factors  entering  into  the  quali- 
fication. 

First,  and  one  of  the  most  impor- 
tant, is  attitude  toward  the  job.  Be- 
cause many  of  the  duties  performed 
daily  become  more  or  less  routine 
after  they  are  learned,  the  man  run- 
ning the  projectors  may  develop  a 
complacent  feeling  toward  the  work, 
and  an  inferior  product  sometimes 
results.  With  the  new  arch  lamp 
and  projectors  that  the  present  thea- 
tres use,  the  hazard  of  this  attitude 
increases  because  one  can  get  by 
with  less  supervision  than  before. 
The  projectionist  ought  to  feel  that 
he  is  as  much  an  artist  as  the  stars 
on  the  screen,  for  without  him  their 
acting  ability  is  lost;  consequently, 
constant  awareness  of  his  important 
function  to  the  entertainment  indus- 
try is  necessary,  for  every  man  re- 
gardless of  the  size  of  the  theatre  in 
which  he  works.  With  the  proper 
attitude  toward  the  profession,  the 
normal  daily  duties  contribute  to 
job  satisfaction  and  pride  in  the 
work. 
Checking  is  a  Key  Word 

The  second  requirement  of  a  good 
presentation  involves  a  key  word  in 
every  projectionist's  vocabulary  — 
checking.  Unfortunately,  since  people 
all  make  mistakes  and  projectionists 
are  human,  a  good  presentation  de- 
mands constant  checking  of  the  var- 
ious functions  performed.  On  many 
jobs,  a  small  mistake  goes  unnoticed 
and  does  little   real  harm,  but  even 


16 


International  Projectionist 


January  1963 


the  smallest  mistakes  in  the  pro- 
jection room  erupt  upon  the  screen 
in  view  of  hundreds  of  patrons.  In 
order  to  eliminate  these  occurrences, 
the  projectionist  ought  to  check  and 
re-check  his  work.  Certain  key 
points  such  as  the  proper  lens  and 
aperture  plate,  proper  reel,  proper 
threading,  proper  carbon  trim,  and 
others  require  constant  supervision 
because  without  a  program  of  double 
checking  the  show  may  suffer. 

Another  item  that  demands  in- 
spection and  checking  is  the  opera- 
tion of  the  equipment.  This  is  the 
section  of  the  program  that  makes  it 
necessary  for  the  projectionists  to 
have  the  specialized  knowledge  dis- 
cussed in  the  first  three  sections,  for 
without  it  the  projectionist  may  find 
it  difficult  to  adopt  an  effective  pre- 
ventive maintenance  program  for  his 
machinery. 
Film  Inspection  Must  Take  Place  First 

The  last  major  topic  considered 
in  this  section  pertains  to  film  in- 
spection. A  few  brief  remarks  on 
this  subject  will  suffice.  First,  if 
a  projectionist  wants  a  perfect  show 
at  all  times,  he  must  inspect  all  film 
before  its  showing.  However,  in 
many  cases  conditions  may  prevent 
the  proper  inspection.  If  this  is  the 
case,  one  must  do  the  best  possible 
job  under  the  handicap.  The  time 
allowed  for  such  inspection  remains 
a  controversial  subject  and  until 
the  question  can  be  effectively  solved 
the  present  unfortunate  conditions 
must  be  tolerated.  Again  the  factor 
of  experience  plays  an  important  role 
in   deciding  the   individual  case. 

But  the  projectionist  should  keep 
in  mind  that  his  primary  job  is  to 
run  the  film  and  maintain  his  equip- 
ment, and  the  film  should  arrive  at 
the  theatre  in  good  condition;  there- 
fore, if  film  inspection  interferes 
with  the  primary  obligation  of  the 
person  running  the  show,  the  inspec- 
tion of  film  ought  to  remain  secon- 
dary on  the  agenda  of  duties. 
Summary  and  Conclusions 

Most  of  the  material  presented 
here  is  a  part  of  every  good  pro- 
jectionist's background  but  it  is  ad- 
vantageous to  review  basic  concepts 
and  goals  periodically  so  that  pri- 
mary objectives  gain  predominance 
in  setting  goals.  This  report  says 
that  in  order  to  adequately  perform 
the  duties  required  of  him,  the  the- 
atre projectionist  should  possess  a 
background  in  (1)  electronics,  (2) 
mechanics,  and  (3)  optics.  It  is  with 
this  background,  plus  the  specialized 
skills  necessary,  that  this  magician 
of  the  theatre  can  present  a  flawless 
show. 

Sometimes  overlooked,  but  equally 
important   as   his   knowledge,   is   his 

International  Projectionist 


attitude  toward  his  profession.  The 
projectionist  is  an  artist  who  uses 
machines  to  paint  pictures,  and  he 
can  gain  satisfaction  from  a  "can- 
vas" well  done.  The  projection 
equipment  resembles  the  surgical  in- 
struments in  the  operating  room  of  a 
hospital,  for  unless  the  person  per- 
forming the  operation  uses  highly 
skilled  techniques,  the  job  is  a 
failure.  Therefore,  when  the  pro- 
jectionist fails  to  present  a  flawless 
canvas  of  picture  and  sound,  his 
patient  dies.  The  patrons  of  the 
theatre  go  home  to  watch  television. 

iP 


PROJECTOR 
CARBONS 


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Light! 


Lower 
Costs! 


RINGSDORFF   CARBON  CORP,     East  MrKensport.  Pa. 


How  electrical  noise  is  produced  . . . 
calculated  •  . .  measured  ,  . .  controlled 


Here  are  the  basic  facts  about  electrical  noise  — how  it  originates 
in  circuits  .  .  .  what  terms  describe  it  .  .  .  how  to  measure  it  .  .  . 
how  to  design  circuits  to  minimize  its  undesirable  effects.  The 
physical  nature  of  the  various  sources  of  noise  are  clearly  de- 
scribed, including  such  sources  as  thermal  agitation  or  resistance 
noise  .  .  .  shot  noise  in  vacuum  tubes  and  semiconductor  junctions 
.  .  .  noise  from  spontaneous  emission  of  electromagnetic  radiation 
.  .  .  and  noise  in  gas  discharges.  This  practical  book  also  explains 
auxiliary  mathematical  techniques,  and  discusses  the  relation  of 
signal  and  noise  in  various  types  of  communication  systems.  For 
ease  in  use,  the  simple  tuned  circuit  associated  with  a  device  for 
measuring  average  power  is  made   the  basic  tool  for  analyzing 


ELECTRICAL 


270  pages,  6x9 
105  illustrations 
$10.00 


By  WILLIAM   R.   BENNETT 

Data  Communications  Consultant,  Bell  Telephone  Laboratories,  Inc. 


Each  chapter  in  this  helpful  book  begins  in 
a  simple,  practical  manner  and  works  toward 
more  complicated  examples.  For  example,  prop- 
erties of  thermal  noise  and  its  relation  to  black- 
body  radiation  are  deduced  from  basic  laws 
of  thermodynamics  and  statistical  mechanics. 
You  also  will  find  a  clear  treatment  of  elemen- 
tary quantum  mechanics  in  discussions  of  the 
maser  and  of  noise  in  semiconductors.  And,  in 
describing  noise  properties  of  various  devices, 
the  book  fills  in  your  working  background  with 
basic  facts  on  junction  diodes  —  transistors  — 
gas  discharge  tubes— klystrons— traveling  wave 
amplifiers— and  others.  Both  independent  and 
dependent  noise  sources  are  analyzed. 

In  addition  to  the  standard  theory  of  noise 
figure  and  its  significance,  a  treatment  is  given 
of  the  more  comprehensive  Haus-Adler  theory 
of  noise  measure.  Throughout,  the  book  stresses 
the  universality  of  noise-like  phenomena.  Noise 
formulas  for  diodes  and  transistors;  noise  gen- 
eration to  meet  specifications;  design  of  ampli- 
fiers for  minimum  noise  effects— these  and  many 
other  topics 'are  covered.  A  comprehensive  re- 
view of  noise  in  the  various  methods  of  signal 
transmission  such  as  amplitude  modulation  .  .  . 
frequency  modulation  .  .  .  and  the  different 
lands  of  pulse  modulation  is  included. 

January  1963 


CONTENTS 

1.  General  Properties  of  Noise 

2.  Thermal  Noise 

3.  Distribution  of  Magnitudes  in  Noise  Sources 

4.  Noise  in  Vacuum  Tubes 

5.  Noise  in  Semiconductors 

6.  Noise  in  Electromagnetic  Radiation 

7.  Noise-generating  Equipment 

8.  Noise  Measurements  and  Techniques 

9.  Design  of  Low-noise  Equipment 

10.  Application    of    Fourier    Analysis    to    Noise 
Problems 

11.  Noise  in  Communication  Systems 

' 1 

INTERNATIONAL  PROJECTIONIST 

Post  Office  Box  6174 

Minneapolis  24,  Minnesota 

Please  send  me  a  copy  of  "Electrical  Noise" 

by  William   R.   Bennett.   (I   enclose  $10.00.) 


Name    

Address 
City  &  State 


17 


IMPROVING  THEATERS 


theater  is  a  matter  of  the  utmost 
impo.rtance.  If  members  of  the 
audience  have  a  pleasant  recollection 
of  their  hours  in  the  theater,  they 
will  frequently  return  and  become 
regular  customers.  If  they  are  re- 
pelled by  unpleasant  surroundings, 
sooner  or  later  they  will  be  perman- 
ently lost.  Some  become  bitter  critics. 
Whispering  campaigns  are  either  the 
best  or  the  worst  advertising. 

For  this  and  other  reasons,  the 
theater  lighting  should  be  most  care- 
fully adjusted  in  each  part  of  the 
theater.  The  street  lighting  of  the 
theater  is,  of  course,  for  conspicu- 
ous display  purposes.  The  lobby 
lighting  should  be  much  softer,  and 
graded  downward  so  that  entering 
the  auditorium  does  not  find  the  eye 
blinded  by  previous  excessive  illu- 
mination. Colored  lighting  (amber 
or  rose,  for  example)  is  often  help- 
ful. And  the  lighting  in  the  main 
portions  of  the  house  must  be  care- 
fully adjusted  so  that  vacant  seats 
can  be  readily  found  and  yet  the 
general  lighting  level  is  low.  Above 
all,  house  lights  should  never  illumi- 
nate the  screen. 

It  goes  without  saying  that  the 
utmost  cleanliness  and  attractive- 
ness in  lounges,  rest  rooms,  and  lavo- 
ratories  is  essential.  Few  things  are 
less  attractive  to  the  audience  than 
shabby  or  unpleasant  rest  portions 
of  the  house. 

In  this  general  connection,  it  is 
essential  that  odors  of  rancid  but- 
ter or  peanut  oil  shall  be  completely 
banished  from  the  house  and  its 
refreshment  portions.  Sufficiently 
powerful  ventilation  and  exhaust 
fans  will  greatly  help.  Many  of  the 
theater  owners  have  found  that  the 
audience  cultivates  theaters  which 
are  free  from  stale  odors. 

Courteous    Treatment    important 

The  operation  of  a  theater  is  not 
a  mere  perfunctory  matter,  largely 
to  be  neglected  as  a  routine  propo- 
sition. Life  in  the  theater  should  be 
a  model  of  courteous  treatment  by 
ushers  and  management.  Any  re- 
quests for  information  or  complaints 
should  be  very  promptly  handled 
and  clearly  answered  with  a  real 
show  of  interest  and  sympathy  on 
the  part  of  the  management.  And  the 
ushers  and  managers  should  not  be 
remote  and  inaccessible  people  but 
should  be  continually  on  the  look- 
out for  any  questions,  complaints, 
disturbances,  or  events  requiring  at- 
tention. One  of  the  great  assets  of 
the    theater    is    the   existence   of   dis- 

18 


from  page  5 

cipline  and  control  of  the  audience 
which  ensures  uninterrupted  enjoy- 
ment of  the  performance.  In  the 
home  there  are  often  enough  in- 
evitable interruptions  of  any  enter- 
tainment. But  in  the  theater  such  un- 
necessary interruptions  are  often  in- 
tolerable  and    repel  the   audience. 

Of  course,  the  main  commodity 
which  is  sold  in  the  theater  is  the 
program.  Too  much  time  can  hardly 
be  spent  selecting  and  arranging  the 
program,  choosing  times  for  the 
showings,  and  generally  building  up 
an  attractive  performance.  A  good 
showman  will  study  the  audience  in 
his  vicinity  and  learn  their  prefer- 
ences. After  a  few  months,  he  will 
know  that  in  the  vicinity  of  his 
theater,  people  prefer  romantic 
shows,  costume  dramas,  comedy, 
vivid  action  films,  so-called  "art" 
pictures,  or  other  forms  of  enter- 
tainment. The  successful  exhibitor 
will  learn  of  these  preferences  and 
will  build  up  his  programs,  wherever 
possible,  around  a  suitable  selection 
and  succession  of  attractive  show- 
ings. It  is  a  good  idea  to  have  dif- 
ferent types  of  films  at  the  same 
performance.  It  is  also  often  worth 
while  shifting  the  major  emphasis 
in  performances  from  each  show  to 
the   ones   on   the   following   weeks. 

The  skilled  showman  will  make 
good  use  of  the  advantages  of  color 
films  which  have  now  been  devel- 
oped to  the  point  of  exquisite  beauty 
and  dramatic  value.  Experience  has 
shown  that  color  can  set  a  mood  in 
a  fashion  almost  impossible  for  black 
and  white.  Accordingly,  the  balanced 
theater  program  will  have  a  full 
quota  of  color  films  wherever  pos- 
sible. 

Exhibitor   Should    have   Good    P.R. 

And  finally,  the  exhibitor  must 
establish  the  closest  possible  rela- 
tionships with  his  community  and 
its  members.  He  should  be  the  "best- 
liked  man  in  town."  This  may  take 
some  time  and  trouble  on  his  part. 
But  anything  he  does  with  and  for 
the  community  is  well  rewarded.  In 
addition  to  studying  the  customer's 
preferences  and  establishing  excel- 
lent public  relations  with  the  com- 
munity, the  exhibitor  should  discover 
whether  his  prospective  audience  re- 
spond better  to  hard-selling  or  to 
soft-selling  in  advertising.  Of  course 
the  type  of  advertising  may  depend 
to  some  extent  on  the  type  of  pic- 
ture that  is  shown  each  week. 

If  the  exhibitor  establishes  cordial 


contacts  with  the  schools,  clubs,  as- 
sociations, and  churches  of  his  town 
— as  well  as  with  the  civic  leaders  of 
the  community  —  his  prospects  of 
success  will  be  considerably  bright- 
ened. It  takes  an  extremely  compe- 
tent, pleasant,  diplomatic,  and  cap- 
able man  to  be  a  truly  successful 
showman.  iP 

London  News 

and  Views 

By  Stanley  T.   Perry 

The  Odeon  Theatre  in  Leicester 
Square  which  is  the  Rank  Organiza- 
tion's key  house  had  a  "face  lift"  in 
its  projection  booth  just  prior  to  a 
Royal  Film  Performance. 

The  Odeon,  which  needed  a  change 
of  equipment,  installed  three  Cine- 
maccanica  Victoria  X,  a  multi  pur- 
pose 70/35mm  projector,  with  elec- 
trical interlock  between  any  pair. 
Also  installed  were  three  Super 
Zenith  460  arc  lamps  with  18  picroid 
reflectors,  operating  at  110  amps., 
with  a  corbon  trim  of  10  mm  posi- 
tive, 9  mm  negative,  both  copper 
coated.  The  positive  is  non-rotating 
and  the  carbon  contacts  and  the  lamp 
are  generally  air-cooled,  although 
water  circulation  is  now  being  used, 
except   for   the   projector   film   gate. 

A  new  G.  B.  Kalee  Duosonic- 
Multichannel  sound  equipment  for  all 
film  systems,  including  unmarried 
prints  was  included.  Also  installed 
was  a  12- way  sound  reinforcement 
system  and  remote  control  focusing, 
framing,  sound  volume  from  the 
auditorium. 

Prior  to  the  installation  of  the 
projection  equipment,  Mick  Mc- 
Laughlin, chief  projectionist  at  the 
Odeon,  and  Bob  Pulman,  projection 
engineer  of  the  circuit,  were  guests 
of  the  Cinemaccania  Company  in 
Milan,  Italy,  where  they  spent  some 
days  at  the  factory  familiarizing 
themselves  with  the  equipment. 


The  "late  night  show"  policy 
which  has  been  in  operation  for 
some  time  in  the  West  End,  is  now 
spreading  to  the  suburbs.  The  Clas- 
sic Circuit,  which  runs  a  number  of 
small  repertory  theatres,  have  started 
the  late  night  shows  at  Chelsea  and 
Notting  Hill,  and  no  doubt  there 
will  be  more  of  these  in  the  future. 
The  nine  small  houses  in  the  West 
End  late  night  shows  have  now 
firmly  established  themselves.  Some 
show  the  current  feature  and  shorts. 
Others  have  a  special  program  for 
the  late  show  only.  iP 


International  Projectionist 


January  1963 


»  AUTHORITATIVE 
» COMPREHENSIVE 
» PRACTICAL 


Acclaimed  by  leading  technicians  in 
the  industry  as  the  most  comprehen- 
sive and  down-to-earth  handbook  pub- 
lished to  date  on  the  subject  of  motion 
picture  projection.  Ideally  suited  for 
study  and  reference  by  your  opera- 
tors. 


ROBERT  A.  MITCHELL'S 


MANUAL  OF  PRACTICAL  PROJECTION 


HANDY    5"/2"    X    8|/2"    SIZE 


450     PAGES 


ILLUSTRATED     —     CROSS     INDEXED     FOR     EASY     REFERENCE 


A  Here  is  one  of  the  most  help- 
ful works  ever  published  for 
the  motion  picture  projection- 
ist. A  handsomely  bound  and 
profusely  illustrated  compila- 
tion of  the  BEST  of  the  Robert 
A.  Mitchell  articles  that  have 
appeared  in  "International 
Projectionis  t,"  revised, 
brought  up  to  date. 


! 


ic  The  author  covers  clearly 
and  thoroughly  every  aspect  of 
motion  picture  projection,  pre- 
senting his  material  in  easily 
understood  language — not  too 
technical,  yet  technically  ac- 
curate. The  Manual  is  divided 
in  8  sections  and  contains  30 
chapters  —  a  valuable  refer- 
ence work  no  progressive  pro- 
jectionist should  be  without. 


SECTION     HEADINGS 


(1)  Film;  (2)  The  Projector;  (3)  Projection-Optics,  Screens;  (4)  The  Arc  Lamp; 
(5)  General  Projection  Practice;  (6)  Motors,  Generators,  and  Rectifiers;  (7) 
Sound   Reproduction  Systems;   (8)    Projection  of  Color  and  3-D  Films,  Formulas. 


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January  1963 


19 


.,4  Scene  From  America's  Projector  Carbon  Center., 


Lamp  for  simulating  operating  conditions 


"  With  this  unique  lamp  we  keep  millions  of 
moviegoers  happy  with  your  screen  lighting" 


A  ^^ 


To  the  best  of  our  knowledge 
there  are  only  two  of  these 
lamps  in  existence— and  both 
are  located  in  our  Fostoria, 
Ohio,    plant.    This   remarkable 
lamp  is  vital  to  quality  screen        George  Mayer 
lighting  because  it  enables  our  development  de- 
partment to  simulate  any  operating  conditions 
encountered  by  projectionists. 

For  example,  we  can  alter  the  negative  car- 
bon angle  from  0  to  90°,  with  respect  to  the 
positive  carbon  axis.  The  lamp  will  take  any 
size  negative,  either  copper -coated  or  black. 
Jaws  are  available  to  burn  either  copper-coated 


-says  GEORGE  MAYER 

National  Carbon  Sales  Engineer 

or  black  positive  carbons.  Rotational  speeds 
range  from  0  to  20  rpm,  and  feed  rate  can  be 
varied  from  1  to  120  inches  per  hour.  Power 
variations  range  from  5  to  300  amps  under 
normal  conditions.  Up  to  800  amps  have  been 
carried  for  short  periods  of  time. 

Such  advanced  research  equipment,  quality 
production,  and  precision  testing  are  only  a 
part  of  the  "National"  projector  carbon  story. 
Since  1917,  National  Carbon  has  set  the  pace 
for  outstanding  technical  service . . .  through 
Sales  Engineers  equipped  with  today's  most 
modern  test  devices  for  assuring  optimum 
lighting  efficiency. 

Contact 

Mr.  National  Carbon 


UNION 
CARBIDE 


"National"  and  "Union  Carbide"  are  registered  trade-marks  for  products  of 

NATIONAL  CARBON   COMPANY 

Division  of  Union  Carbide  Corporation  •  270  Park  Avenue  •  New  York  17,  N.  Y. 
In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


as 


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& 


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0) 


FEBRUARY 


VOLUME  38 


1963 


NUMBER  2 


£ 


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u  ca 


40c  A  COPY 


$3.00  A  YEAR 


A  Scene  From  America's  Projector  Carbon  Center. 


Testing  for  arc  consumption  and  light  distribution 


"Every  day  is  'double -feature'  test  day  at 
our  projection  booth  in  Fostoria,  Ohio" 


******       « 

Bill  Brenner 


You're  looking  into  the  motion 
picture  industry's  most  unusual 
projection  booth.  We  run  the 
same  "double-feature"  every 
day —fifty- two  weeks  a  year.  Our 
program  covers  two  important 
phases  of  "National"  projector  carbon  produc- 
tion —  the  testing  of  arc  consumption  and  light 
distribution.  Their  ultimate  results  are  to  help 
you  obtain  the  finest  picture  quality! 

Tests  are  conducted  on  representative  sam- 
ples from  every  lot  of  projector  carbons  manu- 
factured in  Fostoria,  Ohio.  This  specialized 


says  BILL  BRENNER 

National  Carbon  Sales  Engineer 

quality  control  effort  not  only  pays  dividends 
to  the  theatre  owner  in  projection  carbon  econ- 
omy, but  assures  movie  patrons  the  best-lighted 
indoor  or  outdoor  presentations  that  carbon 
dollars  can  buy ! 

Quality  manufacturing  and  precision  testing 
are  only  a  part  of  the  "National"  projector  car- 
bon story.  For  45  years  National  Carbon  has 
backed  theatre  owners  with  the  industry's  most 
dependable  technical  service. 

Our  Sales  Engineers  are  equipped  with  to- 
day's most  modern  test  devices ...  to  assure  you 
maximum  light  efficiency  on  your  screen. 

Contact 

Mr.  National  Carbon 


UNION 
CARBIDE 


"National"  and  "Union  Carbide"  are  registered  trade-marks  for  products  of 

NATIONAL  CARBON  COMPANY 

Division  of  Union  Carbide  Corporation  •  270  Park  Avenue  •  New  York  17,  N.  Y. 
In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL 

PROJECTIONIST 

Including  a  special  Audio-Visual  section  relat- 
ing to  the  operation  and  maintenance  of  A-V 
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fields. 


Volume  38  February,  1963  No.  2 


FRANK  W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY  GALLO 

Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


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545  Fifth  Avenue,  New  York   17,  N.  Y. 

Telephone    Murrayhill    7-7746 

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IN  THIS   ISSUE 

Part  II  A 

Organ  Recordings  for  the  Theatre 
By  ROBERT  A.   MITCHELL 

Projectionist  Profile:   Ernest  Lang 

TESMA  Board  Named  l2 

New   Century   Projector   Series  10 

Norelco,    Ballantyne  Agreement  1  1 

News  Notes — Technical  Hints — Miscellaneous  Notes 


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copyrighted  1963  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 


1 


MONTHLY  CHAT 

»*VVVVV»V**VV*VVV»*»»»»*»VVVVVVV»»*»iV»VV*V*V»VVVV*VVV< 

Better  Days  for  Craftsmen  Ahead? 

1963  may  be  a  year  of  good  theatre  business  and  a 
turning  point  for  projectionists  who  were  affected  by 
theatre  closings  and  discouraged  by  working  with  worn- 
out  equipment.  Film  men  who  have  traveled  around  the 
country  talk  about  a  possible  revival  of  theatre  owners' 
plans  to  build  new  theatres  and  refurnish  older  houses, 
including  new  booth   equipment. 

During  the  "golden  age"  of  movies,  1920  to  1929,  the 
theatre  owners  that  prospered  recognized  that  boothmen 
held  a  big  responsibility  in  the  proper  presentation  of 
the  motion  pictures.  These  owners  encouraged  constant 
improvement  in  projection  equipment  and  used  innova- 
tions and  new  developments  for  high  quality  screen 
shows  as  they  came  along. 

Different   From   the   Past 

In  the  past  decade  the  exhibitor  wanted  attractions  to 
wow  his  audience  from  the  film  producer-distributor.  But 
there  are  signs  that  the  exhibitor  realizes  he  must  depend 
upon  himslef  for  high  standards  of  screen  presentation, 
including  good  housekeeping  to  induce  the  public  to 
attend  his  theatre  more  often. 

If  that  happens — as  eventually  it  must — the  projec- 
tionist will  enjoy  his  old  status  as  a  key  man  of  the 
theatre,  responsible  for  keeping  the  equipment  in  shape 
and  putting  a  good  show  on  the  screen. 

During  the  "Golden  age"  of  movies  there  were  added 
attractions,  such  as  organ  solos  and  live  stage  presenta- 
tion. Now  more  than  ever  the  film  house  relies  on  the 
motion  picture  to  attract  patronage.  The  boothman  is 
the  key  man  in  the  theatre  because  the  public  has  learned 
to  expect  good  projection  and  sound  from  showcase 
houses  featuring  70mm  and  stereo  sound. 

New   Equipment   Increases   Prosperity 

If  theatre  owners  spend  money  on  new  projection 
equipment  and  remodeling  older  theatres,  they  can 
advertise  that  they  have  superior  projection,  comfortable 
seats  and  attractive  surroundings,  and  that  they  provide 
courteous  service  for  patrons.  This  can  help  make  their 
theatre  an  institution  of  the  city — after  all,  that  was  how 
prosperous  showmen  made  money  in  the  1920's,  in  addi- 
tion to  exploiting  the  current  and  forthcoming  attractions. 
Consequently,  the  exhibitor,  realizing  a  good,  efficient 
craftsman  in  his  booth  means  a  lot  to  his  box-office 
business,  will  have  more  regard  for  his  projectionists. 

Veteran  projectionists  will  remember  P.  A.  MacGuire, 
who  served  as  public  relations  man  for  International 
Projector  Corp.  for  many  years,  and  was  a  drum-beater 
for  the  cause  of  better  projection.  In  his  advertisements 
for  the  Powers  and  Simplex  projectors  he  used  the  head- 
line "Better  Projection  Pays,"  and  he  also  preached  the 
slogan  in  speeches  to  exhibitors.  Not  only  did  MacGuire 
promote  his  company's  projector,  but  he  made  the  exhibi- 
tor realize  that  there  was  more  profit  in  better  projection, 
and  he  caused  the  projectionist  to  take  pride  in  his  craft. 

Time   for  Action 

IP  thinks  the  time  has  come  for  a  similar  slogan  to 
be  taken  up  by  equipment  makers,  local  unions,  the  pro- 
jectionists' social  clubs  and  the  individual  projectionist. 
After  all,  the  modern  projectionist  is  a  technician,  a 
well-read  and  skilled  machinist;  he  has  to  be  an  engineer 
to  handle  the  complex  projection  and  sound  equipment 

(Continued  on  Page  14) 


International  Projectionist  February,  1963 


■  - — -  - : "  ■■mtmmaBaamMMMm 


INTERNATIONAL   PROJECTIONIST 


Volume  38 


February,  1963 


Number  2 


Part  II 


Organ  Recordings  For  The  Theatre 

By   ROBERT  A.  MITCHELL 


The  alliance  between  the  mo- 
tion-picture theatre  and  the  orches- 
tral pipe  organ  seems  indissoluble  in 
spite  of  the  fact  that  silent  movies 
faded  into  history  more  than  30 
years  ago. 

The  tonal  eloquence  of  the  organ 
is  no  longer  needed  to  support  the 
action  on  the  screen  or  to  intensify 
its  drama.  Why,  then,  the  continued 
association  of  the  pipe  organ  with 
motion  pictures  and  the  theatres  in 
which   they   are  shown? 

There  is  no  doubt  that  the  richly 
varied  voices  of  the  theatre  organ 
exerted  a  tremendous  impact  upon 
moviegoers  in  the  days  when  the 
audible  "voice"  of  the  screen  was  not 
speech,  but  dramatically  keyed  mu- 
sic. The  "silents"  were  never  really 
silent,  at  all! 

The  silent  film,  with  its  character- 
istic techniques  of  photography,  act- 
ing, and  continuity  ( with  sparing  use 
of  dialogue  subtitles ) ,  was  an  art  in 
its  own  right,  and  one  which  attained 
a  high  degree  of  development  before 
its  demise.  The  silents  were  an  ex- 
travagantly emotional  form  of  visual 
story-telling  enhanced,  ordinarily,  by 
an  equally  emotional  form  of  musi- 
cal scoring.  (Many  of  our  best-loved 
"pop"  melodies,  now  classics,  were 
composed  for  silent  pictures,  e.g. 
"Diane"  written  for  the  1927  film 
"Seventh  Heaven"  with  Charlie  Far- 
rell  and  Janet  Gaynor.) 

Even  modern  moviemakers  of  long 
experience  must  admit  that  the  glam- 
orous dream-stuff  of  the  silent 
motion  picture  possessed  a  strange 
power  to  play  upon  the  feelings  of 
the    audience    to    a    degree    seldom 

4 


achieved  by  the  stage-borrowed  ec- 
lecticism of  the  talking  picture.  This, 
in  brief,  is  the  background  of  cinema 
history  which  solidly  established  the 
pipe  organ — or,  at  least,  fond  mem- 
ories of  the  pipe  organ — in  the  mo- 
tion-picture theatre. 

The  silent  photoplay  will  never  re- 
turn, despite  its  fluidity,  its  beauty, 
and  its  music.  Tastes  have  changed. 
Modern  movies  must  reflect  every- 
day realities  and  communicate  ideas 
to  the  mind  as  well  as  feelings  to  the 
heart.  The  exaggerated  melodrama- 
tics  usual  in  silent  pictures  would 
only  be  laughed  at  if  presented  today 
in  the  rose-tinted  elegance  of  a  by- 
gone era.  But  the  organ,  musical 
voice  of  cinematic  never-never  lands 
of  yesteryear,  persists  even  when  its 
magic  is  transmitted  through  the  me- 
dium of  "canned  sound." 

Use  All   Types   of   Music 

Although  this  article  is  specifically 
devoted  to  the  music  of  the  theatre 
organ,  it  should  not  be  supposed  that 
we  advocate  the  use  of  organ  re- 
cordings to  the  total  exclusion  of 
other  kinds.  Nothing  could  be  farther 
from  the  truth.  Different  types  of 
movie  programs  require  widely  dif- 
ferent types  of  overture  and  inter- 
mission music  to  establish  the  moods 
appropriate  to  them,  or  at  least  to 
avoid  monotony  or  musical  incon- 
gruity. 

In  general,  therefore,  the  projec- 
tionist should  exercise  a  high  degree 
of  musical  judgment.  An  "atmospher- 
ic" or  intensely  dramatic  film  should 
be  prefaced  by  concert-type  mood 
music,  not  by  twist  music  or  ballads 
which  are  more  appropriate  to  light 

International 


oomedy-dramas  or  genre  plays  of  con- 
temporary theme.  Similarly,  western- 
type  music  goes  best  on  days  when  a 
western  picture  is  playing,  and  is  in- 
apropos  with  sea  pictures,  crime  or 
mystery  films,  etc. 

A  particularly  happy  combination 
of  overture  music  and  the  current 
screen  attraction  is  furnished  when 
the  actual  theme  music  of  the  picture 
is  available  on  a  disc.  This  is  rarely 
possible  with  commercial  records  un- 
less the  picture  is  a  second-run  book- 
ing. (It's  a  mystery  to  us  why  the 
film  companies,  themselves,  do  not 
supply  movie  theme  music  on  records 
for  use  in  the  theatre  with  their  pic- 
tures. This  would  be  especially  de- 
sirable with  musicals  and  dramatic 
pictures  having  notable  incidental 
music.) 

Vocal  numbers  are  not  the  best 
choice  for  interval  music.  Intermis- 
sion music  is  intended  only  as  a  back- 
ground, not  as  a  major  performance 
requiring  the  full  attention  of  the 
audience  for  its  appreciation.  So  no 
matter  how  popular  or  desirable  cer- 
tain vocal  numbers  may  be  in  the 
home  or  in  juke  boxes,  they  may 
prove  distracting  in  the  theatre  at 
times  when  patrons  either  chat  with 
friends  or  relax  to  a  pleasing  musical 
background  without  being  forced  to 
concentrate  on  the  lyrics  of  a  song. 

These  suggestions  appear  to  apply 
to  the  great  majority  of  theatres,  no 
matter  whether  the  interval  music  for 
any  specific  performance  is  played 
on  an  organ  or  by  an  orchestra,  or 
features  a  solo  instrument  such  as  the 
violin,  clarinet,  piano,  trumpet,  or 
some  other.  Even  rock  V  roll  and 
twist  music  is  not  ruled  out  for  pic- 

Projectionist         February,  1963 


tures  catering  to  adolescent  audiences, 
but  the  antipathy  of  most  adults  to- 
ward this  kind  of  music  must  be  taken 
into  consideration. 

We  recall  a  theatre  that  used  the 
jazziest,  most  toe-tapping  kind  of 
barrelhouse  piano  music  imaginable 
when  "The  World  of  Harold  Lloyd" 
was  playing.  The  effect  was  mar- 
velous, and  perfectly  keyed  to  the 
rapid-fire  pace  of  silent  slapstick. 
(A  perfect  example  of  nickelodeon 
jazz  highly  recommended  with  silent 
comedy  re-releases  is  Forum  Hi-Fi 
33%-RPM  record  no.  F-9002,  "Bar- 
relhouse with  Moe  Wechsler.") 

This  same  theatre  concentrates  on 
theatre-organ  music  most  of  the  time 
with  good  effect;  and  we  are  happy 
to  add  that  all  the  recorded  music 
used  in  that  theatre  is  selected  by 
the  projectionists. 

Theatre  Organ  for  the  Theatre 

Organ  music  is  peculiarly  suited  to 
the  motion-picture  theatre  because 
of  the  amazing  tonal  range,  versa- 
tility, and  mood-evoking  power  of 
the  orchestral  pipe  organ.  Only  the 
organ  can  whimper  and  coo  with 
sentimental  intimacy  one  moment, 
then  blare  forth  with  all  the  thunder- 
ing, trumpeting  majesty  of  a  brass 
band  the  next.  The  Mighty  Wurlitzer 
is  the  instrument  of  a  thousand 
voices;  and  of  all  the  instruments 
devised  by  man,  it  is  the  one  that 
trulv  glorifies  music. 

Moviegoers  greatly  enjoy  watching 
an  organist  performing  at  the  con- 
sole of  a  giant  pipe  organ.  But  "live" 
organ  music  during  intermissions  is 
a  rarity  today,  inasmuch  as  most 
theatre  managements  are  unwilling 
to  hire  an  organist  when  phonograph 
records  are  so  readily  available  at 
little  cost.  As  a  result,  thousands  of 
fine  theatre  organs  have  been  neg- 
lected or  dismantled;  and  few  of  the 
theatres  built  since  1930  ever  had 
pipe  organs  in  the  first  place. 

Only  a  handful  of  the  largest  and 
most  famous  motion-picture  theatres, 
such  as  the  Radio  City  Music  Hall  in 
New  York,  still  spotlight  the  Mighty 
Wurlitzer  as  an  added  attraction — 
a  real  treat  for  moviegoers  who 
cherish  memories  of  the  silents,  and 
a  delightful  novelty  for  those  whose 
memory  does  not  go  back  so  far. 

What  is  the  physical  structure  of  a 
giant  movie  organ  capable  of  sur- 
passing a  symphony  orchestra  in 
tonal  variety  and  sheer  audio  power? 
How  does  the  "king  of  instruments" 
imitate  sound  effects  ranging  from 
a  whispering  breeze  and  the  hoof- 
beats  of  a  horse  to  the  roar  of  a 
speeding  locomotive  and  the  crashing 
of  thunder?  How  is  all  this  audio 
mimicry   combined   with   every   con- 

International  Projectionist         February,  1963 


ceivable  musical  effect  from  the 
plaintive  sobbing  of  a  distant  flute 
to  the  brassy  fortissimo  of  a  military 
band? — and  all  through  the  artistry 
of  a  single  musician  seated  at  a  con- 
sole which  includes  a  bewildering 
array  of  keyboards,  pedals,  and 
"stop"  tablets?  The  answer  is  simply 
that  an  organ  is  many  instruments 
combined. 

No  sound  is  emitted  from  the  con- 
sole of  an  organ.  The  console  is 
fundamentally  a  complex  switch- 
board. Even  the  keys  of  the  key- 
boards are  switches  which  operate 
electromagnets  and  pneumatic  valves 
in  the  distant  organ  chambers  con- 
taining, in  addition  to  thousands  of 
pipes,  such  percussive  attachments 
as  xylophones,  chimes,  celestes, 
drums,  and  pianos. 

Theatre  organs  are  classified  in 
various  ways  as,  for  example,  the 
number  of  kinds,  or  "ranks,"  of 
pipes  and  the  number  of  keyboards, 
or  "manuals,"  in  the  console.  In  ad- 
dition to  the  manually  played  key- 
boards, every  organ  has  a  pedal  key- 
board played  with  the  left  foot.  The 
pedals  supply  the  deep,  resonant  bass 
notes  which  accent  the  rhythm  of  the 
music.  The  organist's  right  foot  works 
the  "swell  pedal"  which  regulates 
the  volume  of  the  sound.  Since 
organ  pipes  "speak"  under  constant 
wind  pressure  to  maintain  true  pitch, 
the  swell  pedal  actually  only  oper- 
ates a  series  of  shutters  which  open 
up  or  close  off  the  chambers  in  which 
the  pipes  are  housed.  There  may  be 
several  swell  pedals  for  different 
parts  of  the  organ,  and  there  are 
"effect  pedals"  for  cymbals,  drums, 
traps,  gongs,  etc. 
Complexity  of  a  Theatre  Organ 

Above  the  keyboards  of  an  organ 
are  rows  of  tabs  called  "stops." 
These  are  marked  with  the  names  of 
various  solo  instruments  and  dis- 
tinctive organ  voices.  One  may  be 
labelled  "violin,"  another  "French 
horn."  another  "melodia,"  another 
"dulciana."  and  so  on.  Also  indicated 
on  the  tabs  is  the  musical  pitch  of 
each  stop  on  the  basis  of  8  feet  for 
the  open  diaposon  pipe  sounding  the 
lowest  note  of  the  keyboard  in  "uni- 
son pitch" — the  pitch  of  a  particular 
"C"  when  the  pipe  is  sounded  by 
pressing  the  lowest  key. 

Ranks  of  pipes  pitched  an  octave 
lower  than  unison  are  designated  16 
feet,  those  an  octave  higher  than 
unison.  4  feet,  an  octave  higher  than 
this.  2  feet.  In  addition,  there  may  be 
5  1  /3.  3  1/5.  2  2/3,  1  1/5,  and  1  1/3 
foot  stops  that  sound  various  G's 
and  E's  when  a  C  is  pressed  on  the 
keyboard.  These  modify  the  tone 
by  adding  new  harmonics  to  the 
sound.   The  warm  and  vibrant  tibia 


quint,  for  example,  sounds  both  C 
and  the  G  next  above  at  the  same 
time!  The  organist  can  couple  to- 
gether as  many  tones  and  pitches 
as  he  desires  in  order  to  obtain 
distinctive  "registrations."  Hun- 
dreds upon  hundreds  of  registra- 
tions are  possible  on  a  large  organ. 

An  organ  contains  thousands  of 
pipes,  the  largest  ones  16  or  32  feet 
in  length  and  the  smallest  ones  no 
larger  than  penny  whistles.  Indeed, 
an  organ  is  fundamentally  a  colossal 
agglomeration  of  horns  and  whistles 
together  with  bells,  chimes,  harps, 
vibraphones,  pianos,  bass  drums, 
snare  drums,  cymbals,  gongs,  Chi- 
nese blocks,  castanets,  etc.  Each  of 
these  is  controlled  by  a  stop  tab  or 
effect  pedal  in  the  console.  The  organ 
is  thus  a  veritable  one-man  band 
which  can  be  made  to  sound  like 
almost  anything  imaginable,  and  is 
capable  of  effects  no  other  instru- 
ment can  give. 

All  of  the  pipes  and  percussives  of 
a  theatre  organ  are  housed  in  large 
rooms,  called  organ  chambers, 
which  open  into  the  auditorium 
through  the  volume  -  controlling 
"swell  shutters"  behind  ornate  grilles. 
The  audience,  accordingly,  never 
sees  the  organ,  itself,  but  only  the 
organ-controlling  console  which  the 
organist  manipulates. 

All  of  the  pipes  of  a  theatre  organ 
are  behind  swell  shutters,  but  a 
classical  organ  has  rows  of  large 
diapason  pipes  exposed  to  view. 
These  cannot  be  controlled  as  to 
the  volume  with  which  thev  are 
beard,  and  are  generally  played  from 
the  lowest  keyboard  of  the  console, 
called  the  "great  organ."  The  second 
kevboard  of  a  church  organ  plavs  the 
enclosed  pipes,  and  is  called  the 
"swell  organ"  because  its  loudness 
may  be  controlled  with  the  swell 
pedal.  This  old  terminology  is  re- 
tained in  theatre  organs  even  though 
any  stop  may  usually  be  plaved 
through  any  keyboard.  When  there 
are  four  manuals,  the  third  is  called 
the  "solo  organ,"  and  the  fourth, 
the  "echo  organ." 

Tbe  theatre  organ  is  characterized 
by  the  distinctive  instrumental  tone 
dualities  of  its  stops.  Many  of  its 
pipes  are  much  too  piquant  in  tone 
for  anv  other  kind  of  organ.  Then, 
too.  a  church  organ  is  usually  played 
with  unmodulated  wind  pressure, 
which  results  in  a  steady,  rather 
monotonous  tone.  The  theatre  organ 
is  nearly  alwavs  "tremulated"  by 
means  of  a  vibrato  control.  This 
varies  the  wind  pressure  in  a  gentle 
3  cycles-per-second  rhythm.  The  rich 
expressiveness  of  tone  provided  by 
the  vibrato  contrasts  amazingly  with 


the    heavy,     dull    monotone     of    the 
classical  organ. 

The  wind  pressure  needed  to  make 
an  organ  pipe  speak  is  not  very 
great.  But  in  order  to  provide  ade- 
quate pressure  in  all  the  wind  chests 
at  all  times,  permitting  the  full 
organ  to  be  played,  a  large  motor- 
driven  blower  is  required.  This  is 
usually  located  in  the  cellar  of  the 
theatre,  the  wind  being  conducted 
into  the  wind  chests  of  the  organ  by 
air-tight  conduits. 

Variety  of  Organ  Pipes 

A  glance  into  an  organ  chamber 
will  disclose  rows  upon  rows  of  pipes 
in  great  variety.  Some  look  like  con- 
ventional diapason  pipes,  others  are 
gently  tapered,  some  look  like  trum- 
pets, while  still  others  are  square 
wooden  pipes.  Each  row  is  evenly 
graduated  in  the  length  of  its  pipes 
from  the  tallest  giants  down  to  the 
tiniest  ones  the  size  of  lead  pencils. 

Tin  is  the  preferred  material  for 
pipes  of  the  "string"  class  —  the 
violin,  viol  d'amour.  cello,  aeoline. 
dulciana.  gamba,  viola,  salicional. 
voix  celeste,  etc.  Not  ordinary  tin- 
plated  iron,  but  pure  block  tin.  Other 
materials  include  brass,  copper,  lead, 
zinc,  and  wood  for  both  "flue"  and 
"reed"  pipes,  the  latter  having  vibrat- 
ing reeds  to  produce  the  tone. 

All  of  the  "flutes"  in  an  organ  are 
flue  pipes  which  have  no  reeds,  but 
venerate  a  vibrating  column  of  air. 
Some  are  open  at  the  top,  while 
others,  an  octave  lower  in  pitch  for 
the  same  length,  are  closed  off  at  the 
top  by  stoppers.  Among  the  organ 
flutes  we  find  the  orchestral  flute, 
piccolo,  melodia.  and  the  soulful 
tibia,  which  is  a  stopped  wooden 
pipe  very  characteristic  of  the  the- 
atre organ  —  intimately  "throaty" 
and  "cooing."  and  often  played  solo 
during  tear-jerking  scenes  in  silent 
movies. 

A  large  part  of  the  organ,  however. 
is  made  up  of  the  reed  pipes  of 
many  shapes  and  sizes.  These  range 
from  the  powerful  stentorphone  to 
the  delicate  vox  humana,  and  include 
the  trumpet,  cornet,  trombone,  clari- 
net, bugle.  French  horn,  English 
horn,  muted  horn,  basoon,  concertina, 
tuba,  saxophone,  and  a  whole  familv 
of  organ  oboes. 

If  the  organist  wishes  to  play  a 
passage  of  music  "full  organ,"  using 
all  of  the  ranks  coupled  together,  he 
does  not  have  to  reach  up  and  flick 
all  of  the  stop  tabs.  He  has  only  to 
touch  a  pre-set  button  under  the  key- 
board— and  so  with  all  other  stop 
registrations  he  may  have  selected 
beforehand  for  each  of  the  key- 
boards. 


"Theatre-Organ  Style" 

In  general,  theatre-organ  music  is 
distinguished  from  other  kinds  by 
its  variety,  use  of  the  vibrato,  open 
harmony,  accented  rhythm,  and  by 
a  legato  solo-type  melody  with  glis- 
sandos  to  provide  melting,  gliding 
transitions  from  one  note  to  an- 
other. The  late  Jesse  Crawford,  re- 
nowned self-taught  organist  at  the 
old  Chicago  Theatre  in  silent-movie 
days,  probably  did  more  than  any 
other  organist  to  develop  the  char- 
acteristic style  of  theatre-organ 
music. 

The  theatre  organ  is  often  called 
the  "Mighty  Wurlitzer"  because 
Wurlitzer  pipe  organs  were  acknowl- 
edged leaders  in  the  field.  But  there 
were  many  others,  just  as  there 
used  to  be  a  dozen  makes  of  projec- 
tors on  the  market  in  more  pros- 
perous days.  The  Robert  Morton 
organ,  for  example,  was  considered 
one  of  the  very  finest.  The  tonal 
beauty  of  its  strings,  tibias.  and 
melodias  has  never  been  surpassed. 
Then  there  was  the  Marr  &  Colton. 
the  Barton.  Kilgen.  Moller,  and  Kim- 
ball. Some  of  the  orchestral  organs 
used  in  theatres  were  modest  6-  and 
7-rank  jobs;  others  were  20-  and 
30-rank  giants.  The  Radio  City  Music 
Hall  Wurlitzer.  mightiest  of  all. 
comprises  58  ranks  of  pipework 
housed  in  eight  large  organ  cham- 
bers ! 

The  fascinating  musical  magic  of 
many  famous  theatre  organs,  includ- 
ing the  Music  Hall  colossus,  is  avail- 
able via  SS^-RPM  phonograph 
records,  both  monaural  high-fidelity 
and  stereophonic.  And  before  com- 
menting on  the  content  of  some  of 
these  records,  the  writer  wishes  to 
transmit  a  word  of  warning  to  the 
unwary. 

Warning  No.  1.  Quite  a  few  phono- 
graph records  in  the  low-price  cate- 
gory are  inferior  soundwise  and, 
worse,  are  mislabeled  and  pirated. 
Special  attention  is  directed  to  a 
long-play  record  titled  "Organ  Fan- 
tasies— Jesse  Crawford."  This  in- 
cludes ten  selections,  five  of  which 
are  played  on  an  electronic  organ  by 
God-knows-whom,  and  the  other  five 
are  re-recordings  of  the  Keith  Me- 
morial pipe  organ  in  Boston  played 
by  John  Kiley.  The  record  jacket 
states  specifically  that  this  is  all  the 
music  of  Jesse  Crawford — which  is 
simply  not  true.  Kiley's  playing,  by 
the  way,  has  also  been  reissued  on 
other  discs  as  the  work  of  "Merlin." 
Caveat  emptor! — "Let  the  buyer  be- 
ware!" 

Warning  No.  2.  An  electronic 
organ  is  not  an  orchestral  pipe 
organ.      No     electronic     organ     ap- 


proaches the  theatre  organ  in  tonal 
range,  versatility,  and  beauty.  The 
pipe  organ  has  both  sweetness  and 
majesty;  the  electronic  organ  lacks  in 
both  qualities.  No  matter  how  skill- 
ful the  organist,  no  matter  how 
closely  certain  pipe-organ  effects  are 
imitated,  the  synthetic  character  and 
musical  limitations  of  the  electronic 
organ  are  always  apparent.  This  is 
a  point  worth  keeping  in  mind,  inas- 
much as  several  famous  organists 
have  recorded  on  both  types  of  in- 
strument, and  the  record  labels  do 
not  always  tell  which  has  been  used. 
Only  true  orchestral  pipe-organ  re- 
cordings are  reviewed  below.  Never- 
theless, we  recognize  the  importance 
of  the  electronic  organ  in  its  own 
field,  particularly  for  novelty  jazz. 
One  of  the  most  "organ-sounding" 
electronic-organ  recordings  we  have 
heard  recently  is  "Organ  Songs  We 
Love"  played  by  Eddie  Baxter  on  the 
lowrey  Organ.  I  Dot  DIP-25435. 
stereo. )  It  is  very  good  and  suitable 
for  theatre  use.  but  it  is  still  an 
electronic  organ. 

A    Few    Long-Play    Pipe-Organ 

Records    Suitable   for  the 

Theatre 

Note:  Records  are  rated  for  their 
suitability  for  theatre  use  as  follows. 
***  Just  great.  **  Pretty  good. 
*  Only  fair,  or  of  limited  useful- 
ness. 

***  POET  AT  THE  PIPE  ORGAN, 
Jesse  Crawford.  Decca  DL-8565  (mon- 
aural). Irving  Berlin's  best  oldies  master- 
fully interpreted  by  the  late  Jesse  Craw- 
ford at  his  finest.  The  sensitive  artistry 
of  the  "poet  of  the  organ"  is  displayed  on 
the  Lorin  Whitney  Studio  Pipe  Organ. 
(Needle-tracking  difficulties  have  been 
noted  with  this  disc  if  the  record  player 
is  not  perfectly  level.)  Highly  recom- 
mended. 

**  THE  SOUND  OF  JESSE  CRAW- 
FORD, Jesse  Crawford.  Decca  DL-4028 
(monaural).  Broadway  and  movie  show 
tunes  of  more  recent  vintage  styled  by  the 
inimitable  Crawford  in  a  somewhat  slow 
and  pensive  tempo. 

**  OVER  THE  RAINBOW,  Jesse  Craw- 
ford. Decca  DL-8984  (monaural).  A 
treasure  chest  of  dreamily  romantic  Craw- 
ford stylings  of  older  popular  stand-bys. 
Crawford's  tempo  is  terribly  slow,  unlike 
his  playing  30-some  years  ago.  Hear  this 
record  and  use  your  own  judgment  as 
to   the  film   programs  suited  to   its  use. 

*  GOLDEN  OPERA  FAVORITES,  Jesse 
Crawford.  Decca  DL-4301  (monaural). 
An  impeccable  disc,  but  accorded  only  one 
star  here  only  because  as  it  seems  just 
a  mite  too  "classical"  for  routine  use  in 
the  theatre.  It  comprises  well-known  melo- 
dies from  grand  opera  (whence  come  some 
of  our  very  best  tunes),  and  is  suitable 
for  a  subdued  dramatic  mood.  If  you  ap- 
preciate a  very  fine  pipe  organ  played  by 
a  real  maestro,  listen  to  this  one  whether 
you    play    it    in    the   theatre    or   not ! 

**  PIPE  ORGAN  MAGIC,  Jesse  Craw- 
ford. RCA  Camden  CAL-300  (monaural). 
Wow,  get  a  load  of  that  slinky  siren  on 
the  jacket!  No,  Jesse  Crawford  didn't 
look   anything  like   that.    She   must   be   the 


International  Projectionist 


February,  1963 


goddess  of  the  organ  materialized  for  our 
visual  delectation. 

The  jacket  doesn't  say  so,  but  this 
interesting  disc  is  a  re-recording  of  Mr. 
Crawford's  78's  made  on  the  old  Victor 
Orthophonic  label  more  than  30  years 
ago.  You  will  hear  perennial  pop  tunes 
in  Crawford's  old-time  '"movie"  style  on 
the  Chicago  Theatre  Wurlitzer.  I  compare 
this  disc  with  the  original  78's  in  my  col- 
lection, and  found  the  re-recording  job 
well  done.  Some  of  the  songs,  not  often 
heard  nowadays,  are  certain  to  awaken 
memories. 

***  COMMAND  PERFORMANCE, 
George  Wright.  Life  L-1006  (stereo).  IP 
has  received  many  requests  for  the  titles 
and  catalog  numbers  of  Wright's  organ 
recordings,  making  it  apparent  that  IP's 
projectionist  readers  have  an  ear  for  the 
very  best  in  organ  music.  Yes,  George 
Wright  is  universally  considered  to  be  one 
of  the  best  theatre  organists  of  all  time. 
His  playing  is  dramatically  exciting,  tonally 
varied,  and  gorgeously  phrased.  Under 
the  enchanting  spell  of  his  artistry,  the 
organ  comes  to  life  and  speaks  with  the 
voices  of  celestial  orchestras.  How  can 
one  artist,  with  only  two  feet  and  ten 
fingers,  summon  forth  such  audio  magic 
from  the  pipes  of  the  organ?  Well,  it's 
nothing  short  of  genius — the  genius  of  a 
master  musician  who  possesses  the  heaven- 
sent ability  of  translating  mood  and  feel- 
ing into  audible  terms.  COMMAND  PER- 
FORMANCE is  Wright  at  his  best,  but 
no  better  than  he  is  in  the  following  discs, 
also  highly  recommended.  George  Wright 
is  always  at  his  best — and  the  best  of  all! 


***  GEORGE  WRIGHT  PLAYS  THE 
MIGHTY  WURLITZER  PIPE  ORGAN, 
George  Wright.  Hifirecord  R-701  (stero). 
Like  the  foregoing  and  the  following 
George  Wright  recordings,  this  is  also 
available  on  a  monaural  long-play  disc  and 
on  stereophonic  tape. 

***  GEORGE  WRIGHT  ENCORES  AT 
THE  MIGHTY  WURLITZER  PIPE 
ORGAN,  George  Wright.  Hifirecord  R-702 
(stereo) . 

***  GEORGE  WRIGHT'S  SHOWTIME, 
George  Wright,  Hifirecord  R-708   (stereo). 

***  THE  GEORGE  WRIGHT  SOUND, 
George  Wright.  Hifirecord  R-710   (stereo). 

***  THE  ROARING  20'S,  George 
Wright.    Hifirecord    R-718    (stereo). 

***  THE  GENIUS  OF  GEORGE 
WRIGHT,  George  Wright.  Hifirecord  R- 
713    (stereo). 

***  HAVE  ORGAN  WILL  TRAVEL, 
George  Wright.  Hifirecord  R-721   (stereo). 

***  THE  MIGHTY  WURLITZER  RE- 
MEMBERS THE  GOOD  OLD  SONGS, 
Leonard  Leigh.  RCA  Victor  LSP-1795 
(stereo).  The  Mighty  Wurlitzer  sure  goes 
to  town  when  Minneapolis'  Leonard  Leigh 
tickles  the  keyboards!  Talk  about  organ 
magic — this  one  is  pure  musical  sleight- 
of-hand  !  The  giant  organ  sheds  its  majesty 
and  romps  to  toe-tapping  glorifications  of 
pre-World  War  I  jazz.  Sheer  delight. 

**  GREAT  LOVE  THEMES,  Dick  Lei- 
bert.  Reprise  R-6037  (monaural).  Dick 
Leibert  needs  no  introduction.  One  of  the 
greatest  of  theatre  organists,  he  has  been 
staff  organist  at  the  Radio  City  Music 
Hall  for  many  years,  and  is  also  well 
known  for  his  RCA  Victor  organ  records 
and    his    many    organ    recitals    throughout 


the  country.  In  this  record  he  treats  us 
to  some  of  the  most  famous  love  music 
of  all  time — themes  from  the  classics 
which  have  been  turned  into  popular 
melodies.  Beautifully  played  on  the  great 
Radio  City  Music  Hall  Wurlitzer  Organ, 
but  just  a  tiny  bit  too  "serious"  to  show 
off  the  tremendous  tonal  resources  of  that 
famous  organ  with  solo  registrations.  High- 
ly recommended  for  a  serious  dramatic 
mood. 

***  THE  FAMOUS  RADIO  CITY 
MUSIC  HALL  ORGAN,  Ashley  Miller. 
Columbia  CS-8230  (stereo).  Ashley  Miller 
and  Dick  Leibert  are  equally  talented 
organists,  but  in  this  disc  Miller  dis- 
plays the  tonal  possibilities  of  the  world's 
mightiest  Wurlitzer  to  better  advantage 
because  his  selections  are  more  varied 
than  Leibert's  in  the  preceding  record. 
Organist  Miller's  artistry  treats  us  to 
glorious  renditions  of  both  old  and  new 
pop  tunes  on  one  side  of  this  beautifully 
recorded  disc,  to  exciting  "theatrical" 
waltzes   on    the    other. 

***  GUS  FARNEY  AT  THE  GIANT 
FIVE -MANUAL  WURLITZER  PIPE 
ORGAN,  Gus  Farney.  Warner  Bros.  WS- 
1409  (stereo).  Sometimes  jazzy,  some- 
times sentimental,  this  disc  is  just  about 
the  best  sampling  of  real  theatre-organ 
music  you  can  get.  And  no  wonder!  Gus 
Farney  was  employed  by  the  Wurlitzer 
people  in  the  days  of  silent  movies  to 
perform  the  Opening  Night  Concert  at 
the  new  Wurlitzer  Organ  installations. 
Master  Organist  Farney's  musical  magic 
can  now  be  yours  for  the  price  of  a  record. 

(Continued  on  Page  14) 


c^d^SrS 


® 


What  it  does 


(Patent  Vending) 


Trademark  registered  and  copyrighted.  Patent  applied  for. 
The  C.  S.  Ashcraft  Mfg.  Co.,  Inc. 
36-32  Thirty  Eighth  Street,  Long  Island  City,  N.  Y. 


WHAT  the  Ashcraft  CORE- LITE  Arc  Lamp 
does,  makes  more  sense  than  HOW  it  does  it. 

So,  ask  any  National  Theatre  Supply  Com- 
pany man  to  tell  you  WHAT  the  Ashcraft 
CORE-LITE  Arc  Lamp  does  and  he  will  give 
you  an  earful  of  facts. 

Like  this.  The  CORE-LITE  will  increase  your 
screen  side-lighting  75  to  1QO%  . . .  and  can 
prove  it! 

Or  like  this.  The  CORE-LITE  will  save  more 
carbons  than  you  can  shake  a  stick  at.  35% 
savings  can  be  expected,  50%  is  not  unusual. 

And  he  will  prove  it  in  indoor  or  drive-in 
theatres,  using  existing  screens  and  lenses. 
Call  or  write  him  NOW! 


International  Projectionist         February,  1963 


Projectionist  Profile  .  .  . 

Ernest  Lang    Secretary  of  Local  306, 
A  Dedicated  Man  to  the  Labor  Movement 


New  York's  Moving  Picture 
Machine  Operators  Union  Local  306 
rates  high  among  the  unions  where 
the  rule  is  democracy.  And  the  major 
credit  for  that  is  Ernest  Lang,  elected 
secretary  in  1947,  and  his  stalwart 
fellow  members.  Just  to  name  a 
few,  Harry  Garfman,  Steve  D'Inzillo, 
respectively  business  agents  for 
Brooklyn  and  New  York. 

Ernie  Lang's  other  religion  is  the 
labor  movement.  He's  an  idealist 
where  the  union  brotherhood  is  con- 
cerned. He  told  his  interviewer  "that 
the  union  movement  should  be  free  of 
corruption,  bossism  and  dictators  and 
self-seeking  leaders  or  officers." 

Lang's  door  is  open  to  306  mem- 
bers, and  the  members  can  have  their 
say  or  gripes  at  the  business  meet- 
ings. 

In  the  old  days  of  the  local  that 
was  not  the  case.  The  leaders  took 
control  and  the  members  could  like 
or  not.  Lang  became  actively  en- 
gaged in  the  struggle  in  Local  306. 
His  aim  was  to  destroy  these  evils 
and  all  the  benefits  for  the  member- 
ship of  a  democratic  ruled  union  with 
sincere  and  honest  officals.  Ever 
since  Lang's  membership  in  306 — he 
joined  the  Local  in  1933 — he  has 
studied  the  labor  movement  by  taking 
extra  courses,  so  his  union  dedication 
is  honest  and  real. 

He  was  on  the  executive  board  of 
306  before  he  was  elected  secretary. 
Now  he  is  responsible  for  the  Welfare 
and  Pension  Funds  (over  $2,000,- 
000),  negotiation  of  new  contracts 
and  the  busy  business  of  the  Local. 
Under  his  leadership  not  a  cent  rides 
on  the  Funds. 

Lang  gets  to  his  office  at  262  W. 
50  St.  at  9  a.m.  and  he  is  lucky  if 
his  quitting  time  is  10  p.m.  One 
time  this  reporter  was  in  Langs 
office  the  wife  of  a  projectionist  who 
was  a  member  of  306  told  Ernie 
about  her  family  troubles  and  wanted 
Lang  to  speak  to  her  husband  to  be 
more  careful  and  considerate  of  his 
wife   and    their   children.   That   same 


BRIGHTER  LIGHT 
LONGER   BURNING 
SHARPER   PICTURE 
Free  Test  Samples     J 


day  a  member  got  Lang  on  the  phone. 
It  seems  he  got  a  divorce  and  wanted 
to  change  the  beneficiary  of  his  306 
death  benefit. 

Ernie  Lang  has  joined  numerous 
fraternal  and  charitable  organiza- 
tions. The  Projectionist  Square  Club 
is  giving  Lang  a  Gold  Card  for  his 
activity  in  the  Club. 

He  instituted  the  Will  Rogers  Hos- 
pital donation  whereby  carbon  drip- 
pings yield  hundreds  of  dollars  a 
year  to  Will  Rogers  Memorial  Hos- 
pital and  Research  Laboratory.  Lang 
devotes  his  time  to  the  campaign  to 
get  the  copper  from  the  odds  and 
ends  of  the  carbon  from  the  city's 
theatre  booths.  His  friends  in  the 
Local  collect  the  carbons  from  Man- 
hattan, Brooklyn  and  Queens  on  their 
own  time.  He  is  very  proud  of  the 
plaque  on  which  Will  Rogers  gave 
him  a  citation. 

Local  306  operates  with  a  part-time 
president  since  1959.  Ernie  Lang, 
Harry  Garfman  and  Steve  D'Inzillo 
comprise  the  working  executives. 
They  had  the  foresight  10  years  ago, 
when  television  was  raising  hell  with 
theatre  attendance,  to  slow  down  on 
new  members.  As  a  matter  of  fact 
now,  on  a  membership  of  16,000, 
about  70%  of  the  membership  is 
above  retirement  age. 

That's  why  the  contract  in  1962 
with  theatres  Local  306  negotiators 
insisted  on  raising  from  10%  to 
15%  for  the  welfare  and  pension 
funds.  Incidentally  that  1962  pact 
6-year  raises  the  vacation  from  two 
weeks  to  three  weeks  in  1964,  with 
a  5%  increase  in  wages. 

About  half  of  Greater  New  York 
theatres  have  closed  since  1950.  With 
a  sick  industry,  the  1962  contract 
was  all  the  306  membership  could 
expect,  and  without  a  strike,  in  which 
the  projectionists  would  lose  pay; 
the  unions  around  the  country  have 
congratulated  the  negotiators. 

Ernest  Lang's  forebearers  were 
Hungarians.  He  went  to  public  grade 
and  high  schools  in  New  York  City 
and  had  two  years  of  college.    When 


ninf*  ff?»nf»T»  wi'iwwtt* 


Ernest-   Lang 

he  was  in  college  he  worked  as  a 
reel  boy  and  as  a  projectionist  in 
theatres  in  Manhattan,  Brooklyn  and 
Queens.  His  favorite  hobby  is  hunt- 
ing for  deer.  He  can  prove  that  he's 
a  good  shot  by  the  mounted  antlered 
buck  which   adorns  his   office. 

iP 

Ruth    E.   Sherman, 

Official  of  IP,  Dies 

NEW  YORK— Ruth  E.  Sherman, 
widow  of  Harry  I.  Sherman,  past 
president  of  the  25-30  Club,  New 
York,  and  long-time  official  of 
IATSE  locals  in  the  New  York  area, 
died  recently.  Operating  Internation- 
al Projectionist  for  many  years  fol- 
lowing the  death  of  her  husband, 
Mrs.  Sherman  was  serving  as  a  con- 
sultant and  official  of  IP  at  the  time 
of  her  death. 

iP 

William  J.  German, 
Industry  Film  Veteran, 
Will  Retire  This  Year 

NEW  YORK— William  J.  German, 
an  associate  of  the  Eastman  Kodak 
Co.  for  the  last  57  years  and  since 
1922  a  distributor  of  professional 
film  to  the  industry,  has  announced 
that  he  will  retire  at  the  end  of  1963. 

It  is  expected  that  at  that  time  the 
distribution  of  its  films  will  be  con- 
ducted directly  by  Eastman  Kodak 
Co.  Eastman  expects  to  continue  to 
operate  from  the  New  York.  Los 
Angeles,  and  Chicago  metropolitan 
areas,  with  no  substantial  change  in 
operational  methods.  The  many  users 
of  Eastman  film  who  purchased  film 


WM»^^«4 


CARBONS  INC.,  BOONTON,  N.  J. 

[tf..»....t|1|fr....  ,  , 


STEADIER  LIGHT 
LESS  ATTENTION 
PERFECT  COLOR  BALANCE 
Free  Carbon  Chart 


International  Projectionist 


February,  1963 


>fc   .^ 


through  German  will  be  able  to  do  so 
in  substantially  the  same  fashion 
from  Eastman. 

Mr.  German  was  first  associated 
with  Eastman  in  1906  and  in  1922  he 
joined  the  late  Jules  Brulatour  as  the 
distributor  of  Eastman  raw  film  to 
the  nation's  motion  picture  produ- 
cers. Jules  Brulatour,  Inc.,  was  form-, 
ed  in  1924  with  Brulatour  as  presi- 
dent until  his  death  in  1946.  At  that 
time  German  succeeded  as  president. 

In  1952  German  negotiated  the 
purchase  of  Brulatour  interests  and 
incorporated  two  firms  under  his  own 
name  in  Fort  Lee,  N.  J.,  and  in  Cali- 
fornia. German's  firm  continued  as 
supplier  to  the  motion  picture  indus- 
try and  captured  a  large  slice  of  the 
burgeoning  television  business.  He 
also  supplied  film  for  commercial 
users  and  to  the  U.  S.  government. 

Well-liked  throughout  the  industry, 
he  was  frequently  honored  by  trade 
groups  for  the  contributions,  both  in 
time  and  money,  to  charity  and  wel- 
fare organizations. 

In  his  41  years  of  direct  associa- 
tion with  the  motion  picture  indus- 
try, German  has  become  one  of  its 
most  widely  known  and  prominent 
figures.  He  has  been  honored  in  New 
York  and  in  California  by  industry 
and  trade  groups  as  well  as  industry 
charity  and  welfare  organizations. 
He  has  been  closely  affiliated  with 
a  host  of  humanitarian  activities. 

His  business  is  not  limited  to  the 
motion  picture  industry  since  film 
was  sold  and  distributed  to  the  bur- 
geoning television  industry  from  its 
outset,  as  well  as  to  industrial  con- 
cerns and  governmental  agencies. 
Shipments  were  made  to  practically 
all  of  the  states  of  this  country. 

In  the  years  that  German  has  been 
associated  with  the  motion  picture 
industry  many  wide  changes  took 
place.  He  spanned  the  era  of  the 
silent  pictures,  the  advent  of  sound 
pictures,  the  second  World  War,  and, 
finally,  television.  When  the  first 
distributed  film  there  were  essentially 
two  kinds  of  black  and  white  film 
available.  Today.  W.  J.  German. 
Inc.,  carries  in  its  inventory  more 
than  three  hundred  different  kinds  of 
Eastman  black  and  white  and  East- 
man color  films,  and  upon  special 
order  can  make  available  to  its  users 
about  50  additional  kinds  of  Eastman 
films. 

Looking  back  over  the  years,  Ger- 
man commented  that  his  biggest  re- 
ward during  his  years  in  business 
was  in  the  many  friends  which  he 
made. 

"These  years  have  been  rich  and 
rewarding  for  me  because  of  the  won- 
derful people  I  have  come  to  know 

International  Projectionist  February,  1963 


and  who  have  become  my  friends," 
German  said.  "These  were  people 
with  extraordinary  imagination  and 
genius  who  enriched  the  lives,  and 
are  continuing  to  enrich  the  lives  of 
all  of  us  in  this  country  and  abroad. 
They  utilized  the  technology  and  the 
scientific  advances  available  to  them 
to  create  the  greatest  form  of  enter- 
tainment yet  developed  by  man  which 
is  able  to  be  shared  by  so  many 
people.  Movies,  from  the  days  of  the 
silent  pictures  to  the  present,  continue 
their  magical  hold  on  all  people  of 
all  nations.    I   am  optimistic  that  in 


the  future,  as  in  the  past,  the  movies 
will  continue  as  a  great  source  of 
entertainment  and  influence  through- 
out the  world. 

"From  the  beginning  of  the  motion 
picture  industry  in  this  country, 
Eastman  Kodak  has  made  significant 
contributions  throughout  the  years  to 
the  progress  of  the  industry  through 
its  great  products.  The  future  holds 
as  much  promise  as  the  past  in  the 
development  of  film  products  by  the 
Kodak  Co.  Eastman  films  will  be 
better    than    ever    in    the    years    to 


come,"  he  concluded. 


iP 


■  ■■:;-  V:*-'      *:": 
JWV< 

TIP1 


SPEED 

IN  PROJECTION 

Kollmorgen  lenses  rate  tops  in  the  motion 
picture  industry.  Used  exclusively  with 
Cinerama,  they  are  standard  equipment 
in  more  than  70%  of  American  theaters. 
High  light  uniformity  and  less  light  loss 
on  the  screen — the  whole  screen — are  typ- 
ical of  the  outstanding  performance  of 
super  snapliteB1  lenses. 

Other  advantages  that  add  up  to  supe- 
rior screening  with  super  snaplite  are: 


Wire  sharp  contrast 
Uniform  illumination 
Crystal  clarity 

Wide  range  of  focal  lengths 
Sealed  construction 


II : 


4, 


Bulletin  222  describes  Kollmorgen 
lenses  in  detail.  See  your  equip- 
ment dealer,  or  write  us  direct. 


CORPORATION 

NORTHAMPTON,  MASSACHUSETTS 


Century  Projector  Announces  New 
Series  of  Projectors,  Sound  Systems 


NEW  YORK— A  new  series  of  Di- 
rect Drive  projector  mechanisms  and 
sound  reproducers,  to  be  known  as 
Series  M.  has  been  made  available  to 
the  theatre  trade  by  Century  Projec- 
tor Corporation. 


THE 
VERY.FJUSEST 


PROJECTOR 
' PARTS  i 


4635  WEST  LAKE  ST.,  CHICAGO,  ILLINOIS 


PROJECTIONISTS 
PREFER 

ETHYLOID 

Film  Cement  For 
BEST  RESULTS 

Available  from 
Supply  dealers 

FISHER  MFG.  CO. 

1185  Mr.   Read  Blvd. 
Rochester,  N.Y. 


10 


Frank  E.  Cahill,  Jr.,  Century's  dis- 
tribution vice  president,  stated  that 
the  mechanisms  are  completely  new 
in  design  and  that  both  the  projector 
mechanism  and  the  sound  mechan- 
isms were  designed  to  complement 
each  other  and  will  not  be  marketed 
separately.  Sold  as  a  combination. 
Cahill  stated,  the  mechanisms  "are 
the  answer  to  the  industry's  long  felt 
need  for  an  integrated  direct  drive 
assembly." 

Proved  Gear  Arrangement 

The  background  and  history  in  the 
development  of  the  gear  arrangement 
which  has  proven  to  be  reliable  over 
25  years  of  operation  were  comment- 
ed upon  by  Cahill,  who  said  that  the 
present  day  sound  reproducer  is  an 
addition  to  the  motion  picture  pro- 
jector, not  a  part  of  a  complete  and 
logical  mechanical  design. 

The  speeds  of  the  several  shafts 
in  projectors  and  sound  reproducers 
now  in  use  were  dictated  by  the  de- 
sign of  the  original  hand-cranked 
projectors  and  were  never  intended 
for  motorized  operation.  Also  is  the 
fact  that  motion  picture  projectors 
were  operated  at  16  frames  per  sec- 
ond and  then  increased  to  24  frames 
per  second  without  adequate  re-de- 
signs of  bearings,  shafts,  etc.  to  with- 
stand the  increased  motorized  speeds. 
A  large  number  of  these  projectors 
are  still  in  use. 

All  this  has  been  taken  into  con- 
sideration in  designing  the  new  Cen- 
tury direct  drive  projectors.  Cahill 
said. 

At  the  recent  Allied-Tesma  conven- 
tion in  Cleveland,  Century  Projector 
Corp.  introduced  and  displayed  this 
new  arrangement  for  coupling  the 
projector  mechanism  and  sound  re- 
producer together.  This  new  drive 
incorporates  additional  features 
which  result  in  optimum  quietness 
with  stable,  vibration-free  perform- 
ance, safe  and  dependable  operation. 
Cahill  added. 

Easily  Adapted 

The  New  Century  drive  is  said  to 
be  easily  adapted  for  interlock  or 
synchronous  operation  with  separate 
sound  reproducers  or  interlocked  to- 
gether for  3-D  projection.  Because 
the  main  drive  shaft  of  the  projector 
mechanism  operates  at  1440  RPM  ( in 
exact  synchronism  with  the  shutter 
shaft )  interlock  motors  are  easily 
attached  with  simple  1:1  pulleys. 


Because  of  the  direct  drive  coupl- 
ing between  the  mechanism  and  the 
sound  reproducer  in  the  new  series  it 
is  no  longer  necessary  to  utilize  a 
timing  belt  drive  between  the  motor 
and  reproducer,  nor  from  the  repro- 
ducer to  the  projector  mechanism. 
Therefore  the  requirements  for  stable, 
quiet  mechanical  operation  are  ful- 
filled without  troublesome  multiple 
gear  trains,  excess  gears  and  extra 
belts. 

Analysis  of  features 

( 1 )     Direct     Drive     Projector     Mech- 
anism 

(  a )  The  PROJECTOR  Main  Drive 
Shaft  Speed  is  now  1440  RPM 
(  same  as  the  Shutter  Shaft  I . 

(  b )  Good  mechanical  designs  dic- 
tate that  high  speed  gears  driving 
low  speed  gears  are  advantageous 
for  many  reasons.  In  other  words, 
speed  reduction  should  be  used 
whenever  possible. 

The  new  Century  gear  arrangement 
progresses  with  mechanical  stability 
from  the  motor,  operating  at  1765 
RPM.  to  the  main  drive  of  the  projec- 
tor at  1440  RPM.  Then  a  step  down 
in  speed  to  the  vertical  shaft  that  now 
e  tends  not  only  upward  through  the 
projector  but  also  downward  through 
a  flexible,  isolation,  coupling  to  the 
sound  reproducer.  This  vertical  shaft 
running  through  the  mechanism  and 
siund  reproducer  rotates  at  720 
RPM.  At  the  several  sprocket  shafts 
the  speed  is  further  reduced  to  360 
RPM  which  is  standard  sprocket 
speed  for  35mm  projectors  using 
standard  16-tooth  sprockets. 

( c )  Because  of  the  direct  drive 
coupling  between  the  mechanism 
and  the  sound  reproducer  it  is  no 
longer  necessary  to  utilize  a  timing 
belt  drive  between  the  motor  and 
reproducer,  nor  from  the  repro- 
ducer to  the  projector  mechanism. 
Therefore  the  requirements  for 
stable,  quiet  mechanical  operation 
are  at  last  fulfilled  without  trouble- 
some multiple  gear  trains,  excess 
gears,  extra  belts,  etc. 

The  Poly  "V"  belt  incorporates  six 
parallel  "V"  tracks  running  in  space- 
saving  pulleys  especially  grooved  to 
mate  precisely  with  the  belt  ribs. 
Thus  the  advantages  of  the  smooth- 
ness of  "V"  belt  drives  is  combined 
into  6  "V"  belts  operating  together 
to  give  greater  power  efficiency  and 
additional  smoothness.  Because  the 
Mechanism  is  driven  directly  from 
the  motor  through  the  belt,  fluctua- 
tions in  load  from  the  intermittent 
movement,  sprocket  shafts,  etc.  are 
not  reflected  to  the  sound  reproducer. 

iP 


International  Projectionist 


February.  1963 


Norelco,  Ballantyne  Sign  Agreement 
For  Distribution  of  FP-20  Projector 


A  major  theatre  equipment  sales 
agreement  has  been  announced  be- 
tween North  American  Philips  Com- 
pany, Inc.,  New  York  City  and  Bal- 
lantyne Instruments  &  Electronics, 
Inc.  of  Omaha,  Neb.,  electronics  di- 
vision of  ABC  Vending  Corp. 

Ballantyne  will  become  the  major 
distributor  for  the  Norelco  Model  FP- 
20  35mm  projector. 

The  announcement  was  made  by 
Niels  Tuxen,  general  manager,  Mo- 
tion Picture  Equipment  Division  of 
North  American  Philips  and  bv  J- 
Robert  Hoff.  executive  vice  president 
of  Ballantyne. 

Projectors  to  Ballantyne 

The  agreement  calls  for  the  pur- 
chase by  Ballantyne  of  a  large  num- 
ber of  Norelco  35mm  projectors. 
Norelco.  in  turn,  will  purchase  from 
Ballantyne  certain  assemblies  and 
sub-assemblies  for  its  projector  line 
which  Ballantvne  will  manufacture  to 
Norelco  specifications. 

Ballantyne  will  use  the  FP-20  pro- 
jectors for  a  lara;e  number  of  indoor 
theatres  already  contracted  for.  In 
addition,  the  units  will  be  adapted  to 
accept  high  intensity  lamps  for  use 
:i  drive-in  theatres. 

The  Norelco  units  are  considered 
to  be  among  the  most  advanced  on 
the  market  today  and  include  the 
same  engineering  features  as  the 
Norelco  70/35mm  model.  Not  only 
will  the  units  conform  to  all  Ameri- 
can standards,  but  they  will  contain 
some  unique  features  for  positioning 
and  focusing  of  all  makes  of  arc 
lamps,  it  was  stated. 

Curved  film  gate 

FP  -  20  features  simple  driving 
mechanisms  with  a  minimum  of 
transmission.  It  is  said  to  be  easy  to 
thread  with  the  smallest  number  of 
oarts  included  in  the  film  path.  It 
has  a  curved  film  gate  and  is  suit- 
able for  all  35mm  films.  It  has  double 
soeed.  single  blade  shutters  and  a 
high  liffht  efficiency,  the  announce- 
ment said. 

In  addition,  the  above  projector 
can  be  supplied  with  facilities  for 
remote  focusing  and  framing.  As  a 
complete  unit,  the  FP-20  incorporates 
the  optical  sound  head  on  the  same 
base  with  the  proiector  mechanism. 
Provision  is  made  for  a  magnetic  re- 
producer which  is  supplied  as  an  op- 
tional feature. 

A  water-cooled  film  gate  is  said  to 


eliminate  the  problem  of  film  buckl- 
ing. 

Mr  Hoff  said  that  the  trade  will  be 
supplied  under  the  existing  teams  ap- 
plicable to  the  sale  of  this  projector. 
He  also  said  that  within  a  few  weeks 
Ballantyne  would  announce  a  "revo- 
lutionary new  concept  in  the  market- 
ing of  theatre  equipment." 

iP 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeespor.t,  j'a. 


How  electrical  noise  is  produced  . . . 
calculated  . .  .  measured  . . .  controlled 


Here  are  the  basic  facts  about  electrical  noise  —  how  it  originates 
in  circuits  .  .  .  what  terms  describe  it  .  .  .  how  to  measure  it  .  .  . 
how  to  design  circuits  to  minimize  its  undesirable  effects.  The 
physical  nature  of  the  various  sources  of  noise  are  clearly  de- 
scribed, including  such  sources  as  thermal  agitation  or  resistance 
noise  .  .  .  shot  noise  in  vacuum  tubes  and  semiconductor  junctions 
.  .  .  noise  from  spontaneous  emission  of  electromagnetic  radiation 
.  .  .  and  noise  in  gas  discharges.  This  practical  book  also  explains 
auxiliary  mathematical  techniques,  and  discusses  the  relation  of 
signal  and  noise  in  various  types  of  communication  systems.  For 
ease  in  use,  the  simple  tuned  circuit  associated  with  a  device  for 
measuring  average  power  is  made  the  basic  tool  for  analyzing 
noise. 


ELECTRICAL 


270  pages,  6x9 
105  illustrations 
$10.00 


By  WILLIAM   R.   BENNETT 

Data  Communications  Consultant,  Bell  Telephone  Laboratories,  Inc. 


Each  chapter  in  this  helpful  book  begins  in 
a  simple,  practical  manner  and  works  toward 
more  complicated  examples.  For  example,  prop- 
erties of  thermal  noise  and  its  relation  to  black- 
body  radiation  are  deduced  from  basic  laws 
of  thermodynamics  and  statistical  mechanics. 
You  also  will  find  a  clear  treatment  of  elemen- 
tary quantum  mechanics  in  discussions  of  the 
maser  and  of  noise  in  semiconductors.  And,  in 
describing  noise  properties  of  various  devices, 
the  book  fills  in  your  working  background  with 
basic  facts  on  junction  diodes  —  transistors  — 
gas  discharge  tubes— klystrons— traveling  wave 
amplifiers— and  others.  Both  independent  and 
dependent  noise   sources   are   analyzed. 

In  addition  to  the  standard  theory  of  noise 
figure  and  its  significance,  a  treatment  is  given 
of  the  more  comprehensive  Haus-Adler  theory 
of  noise  measure.  Throughout,  the  book  stresses 
the  universality  of  noise-like  phenomena.  Noise 
formulas  for  diodes  and  transistors;  noise  gen- 
eration to  meet  specifications;  design  of  ampli- 
fiers for  minimum  noise  effects— these  and  many 
other  topics  "are  covered.  A  comprehensive  re- 
view of  noise  in  the  various  methods  of  signal 
transmission  such  as  amplitude  modulation  .  .  . 
frequency  modulation  .  .  .  and  the  different 
kinds  of  pulse  modulation  is  included. 


CONTENTS 

1.  General  Properties  of  Noise 

2.  Thermal  Noise 

3.  Distribution  of  Magnitudes  in  Noise  Sources 

4.  Noise  in  Vacuum  Tubes 

5.  Noise  in   Semiconductors 

6.  Noise  in  Electromagnetic  Radiation 

7.  Noise-generating  Equipment 

8.  Noise  Measurements  and  Techniques 

9.  Design  of  Low-noise   Equipment 

10.  Application    of    Fourier    Analysis    to    Noise 
Problems 

11.  Noise  in  Communication  Systems 


INTERNATIONAL  PROJECTIONIST 

Post  Office  Box  6174 

Minneapolis  24,  Minnesota 

Please  send  me  a  copy  of  "Electrical  Noise" 

by  William   R.   Bennett.   (I   enclose   $10.00.) 

Name 

Address 

City  &  State 


International  Projectionist  February,  1963 


11 


W.  J.  Cosby,  J.  R.  Hoff  Named 
To  TESMA  Board  of  Directors 


NEW  YORK— W.  J.  (Bill)  Cosby 
and  J.  Robert  (Bob)  Hoff  have  been 
appointed  by  TESMA  president 
Larry  Davee  to  the  board  of  directors 
of  that  organization  to  fill  unexpired 
terms  of  two  resigned  directors. 

Cosby  will  fill  the  unexpired  term 
of  V.  j.  (Jack)  Nolan  of  National 
Carbon  Co.  and  Hoff  is  to  serve  the 
unexpired  term  of  Leonard  Satz. 
Techikote  Corp.  Both  directors  re- 
signed because  of  press  of  business. 

Cosby,  presently  marketing  man- 
ager, arc  carbon  products  for  Nation- 
al Carbon  Co..  has  been  with  that 
company  since  his  graduation  from 
Purdue  in  1950.  Cosby  matriculated 
at  Purdue,  immediately  upon  his 
discharge  from  the  U.  S.  Army  Air 
Corps,  in  which  he  served  as  a  bom- 
ber pilot  in  the  European  Theatre,  as 
a  1st  Lieutenant. 

Cosby  started  with  National  Car- 
bon as  a  salesman  after  undergoing 
the  company's  training  course,  was 
advanced  to  district  sales  manager 
in  the  Cleveland  area.  He  came  to 
New  York  three  years  ago  as  national 
sales  manager  for  arc  carbons  in  the 
theatre  division  and  was  advanced 
to  his  present  job  as  marketing  man- 
ager for  all  arc  carbon  products 
about  a  year  ago. 

Hoff  is  a  veteran  in  the  theatre 
equipment    manufacturing    field    and 


*tf 


'LET'S  TWIST"! 


Yes,  That  Easy  to  Use -No  Tools  Needed 

Just  Twist  The  Stub  In  &  Out  .  .  . 
NO  GRINDING— NO  DIRT 


<»»* 


IF   YOU    ARE   NOT   USING   The 

"Little   Miser"    Carbon    Saver 

YOU  are  losing  several  Hundred  Dollars 

Each  Year! 

4  Sizes  9-1 0-11  m.m.  $3.00  Each 
13.6m.m.  $4.50  Each 

ORDER  Now— Start  Saving   Money  $$ 
(We   Suggest  3   In   Each   Projection   Room) 

LOU     WALTERS 

Sales   &   Service   Co. 
MOTION    PICTURE   EQUIPMENT 

EV   8-1550 

4207  Lawnview  Ave,  Dallas  27,  Texas 


is  a  veteran  executive  of  TESMA. 
He  was  a  practicing  attorney  and 
subsequently  joined  the  Ballantyne 
Co.  as  sales  manager  following  World 
War  II,  during  which  he  served  in 
the  Navy.  He  has  been  a  board  mem- 
ber, vice-president  and  president  of 
TESMA  and  has  served  on  its  board 
since  TESMA's  reorganization  in 
1946.  Hoff  presently  is  executive 
vicepresident  of  the  Ballantyne  In- 
strument &  Electronics  Co.  and  a 
member  of  the  board  of  directors  of 
ABC   Vending   Co..  the  parent  com- 


pany   of    Ballantyne. 


iP 


Radiant   Represented 
At  German    Photokina 

Radiant  Manufacturing  Corp., 
world's  largest  producer  of  projection 
screens  for  home,  school  and  indus- 
try, will  again  participate  in  the 
International  Photokina  Exposition, 
March  16-24  at  Cologne,  Germany. 

Being  introduced  for  the  first  time 
is  a  new.  low  priced  tripod  screen 
with  silver  lenticular  surface.  Radiant 
pioneered  in  the  development  of  len- 
ticular surfaces  and  through  its 
modern,  fully  automated  plant  has 
now  brought  the  price  within  most 
budgets.  The  silver  lenticular  surface 
has  achieved  popularity  around  the 
world  because  it  provides  brilliant 
pictures  over  a  wide  angle  of  view 
both  in  darkened  and  partly  lighted 
rooms.  iP 


SMPTE  SETS  MEETING  PROGRAM; 
LITTLE  ON  PROJECTION  EDUCATION 


NEW  YORK— A  wide  range  of 
motion  picture  and  television  techni- 
cal topics  will  be  discussed  when 
scientists  and  engineers  meet  this 
spring  at  the  Traymore  Hotel  in 
Atlantic  City,  N.  J..'  April  21-26.  for 
the  93rd  seminannual  convention  of 
the  Society  of  Motion  Picture  and 
Television  Engineers. 

Subjects  of  interest  to  projection- 
ists include: 

"Application  of  Motion  Pictures 
and  Television  to  Education"  under 
0.  S.  Knudsen  of  Iowa  State  Univer- 
sity. 

"New  Instrumentation  in  Tele- 
vision" under  R.  L.  Pointer  of  Ameri- 
can   Broadcasting    Co..    New    York. 

"New  Technology  of  8mm  Com- 
mercial Motion  Pictures"  under  Dr. 
C.  Loren  Graham.  Eastman  Kodak 
Co.,   Rochester.   N.   Y. 

In  a  move  to  accommodate  an 
increasing  number  of  industrial  firms 
and  government  agencies  requesting 
exhibit  facilities  at  its  93rd  Conven- 
tion, the  SMPTE  has.  arranged  for 
an  additional  1,500  sq.  ft.  of  display 
space. 

The  equipment  exhibit  will  include 
a  variety  of  high-speed  and  instru- 
mentation devices,  film  laboratory 
control  and  processing  tools,  tele- 
vision cameras,  television  tape  and 
film  recording  equipment,  as  well 
as  special  motion-picture  and  tele- 
vision devices  and  8mm  motion- 
picture  equipment. 

Among  those  manufacturers  that 
have  already  contracted  for  display 
space  at  the  convention   are  the  fol- 


12 


lowing:  Animation  Equipment  Com- 
pany; Arriflex  Corp.  of  America: 
Bell  &  Howell  Co.;  Birns  &  Sawyer 
Cine  Equipment  Co.:  CBS  Labora- 
tories: Camera  Equipment  Co.: 
Camera  Mart;  Canon  Camera  Co.  of 
Japan;  ColorTran  Industries;  Com- 
prehensive Service  Corp.;  Ehren- 
reich  Optical  Industries;  Elgeet 
Optical  Co.:  Filmline  Corp.:  Oscar 
Fisher  Co.:  Florman  &  Babb,  Inc.: 
Hi-Speed  Equipment  Co. ;  Hollywood 
Film  Co.:  Houston-Schmidt.  Ltd.  of 
Canada:  Lipsner-Smith  Corp.;  Mag- 
nasync.  Inc. ;  Motion  Picture  Enter- 
prises; Photo-Sonics,  Inc.;  Precision 
Laboratories;  Quick-Set.  Inc.;  Shiba 
Electric  Co.  of  Japan;  S.O.S.  Photo- 
Cine-Optics;  Sylvania  Electric  Pro- 
ducts; Time  Automated  Mfg..  Inc.: 
Wollensak  Division.  Revere  Camera 
Co.:   and  Zoomar.  Inc. 

IP 

Motion   Pictures   Being 
Lost  Through   Neglect 

Large  numbers  of  historically 
significant  motion  pictures  are  deter- 
iorating through  neglect.  John  Flory. 
Eastman  Kodak  non-theatrical  film 
advisor,  told  participants  at  the  92nd 
convention  of  the  Society  of  Motion 
Picture  and  Television  Engineers  at 
Chicago's  Drake  Hotel. 

"Mile  after  mile  of  motion  picture 
film  is  turned  out  each  year  for  fic- 
tional, informational,  and  documen- 
tary productions,"  Flory  said.  "Little 
is  being  done  to  preserve  these  im- 
portant records  of  our  times.   A  coor- 

February,  1963 


International  Projectionist 


dinated,  national  program  of  motion 
picture  archives  is  desperately  need- 
ed." 

Flory  commended  the  work  of  the 
Library  of  Congress,  the  National 
Archives,  several  private  museums, 
and  a  number  of  government  agen- 
cies. But  he  said  that  these  few  insti- 
tutions could  not  cope  with  the  econ- 
omic and  engineering  problems 
posed  by  ever  increasing  numbers  of 
films. 

'"The  current  output  of  new  motion 
pictures  in  the  U.  S.  is  nearly  30,000 
per  year,"  he  said,  "more  than  double 
the  number  of  books  published  an- 
nually in  this  country." 

"We  will  reach  a  point-of-no-return 
unless  orderly  channels  can  be  set 
up  to  cope  with  the  problems  of 
housing,  preserving,  and  cataloging 
this  material,"  Flory  stated.  "The 
task  is  too  great  for  one  or  a  small 
number  of  groups.  It  must  be  under- 
taken at  local,  state,  regional,  and 
national   levels." 

Flory  recommended  a  broad  pro- 
gram to  include :  1 )  efforts  to  make 
archivists  more  aware  of  the  histori- 
cal significance  of  film;  2)  better 
dissemination  of  technical  informa- 
tion; 3)  the  development  of  person- 
nel qualified  to  serve  as  film  archi- 
vists; 4)  the  collection  of  films  by 
specialized  institutions;  5)  the  col- 
lection and  publication  of  a  list  of 
institutions  where  films  exist;  and 
6 1  an  immediate  catalog  of  films 
now  held  in  archives.  iP 

Harwald  Develops 
"Coordinator"  for 
Auto.  Film  Inspection 

A  further  stride  in  the  automation 
of  motion  picture  film  inspection  and 
maintenance  is  offered  in  the  new 
dual-unit  "coordinator"  developed 
by  the  Harwald  Co..  Evanston,  111., 
manufacturer,  to  increase  the  effici- 
ency and  reduce  worker  fatigue  in 
film  libraries  where  one  man  operates 
two  of  the  firm's  widely  used  film 
inspection  and  cleaning  machines. 
The  new  coordinator  unit  is  designed 
to  fill  the  corner  created  by  two 
adjacent  Inspect-O-Film  machines 
set  at  right  angles  to  each  other.  It 
adds  to  their  already  ample  table 
space,  keeps  a  record  of  the  time  each 
machine  has  been  run,  and  affords  an 
indisputable  graphic  paper  record 
of  an  inspected  film's  physical  con- 
dition. 

When  an  expert  inspector  works 
by  hand  he  passes  the  film  slowly 
through  his  gloved  fingers  to  "feel" 
for  tears,  thick  spices,  burned  frames, 
punch   marks,   bad   sprocket  holes — 


the  machine  does  all  this  automatical- 
ly by  means  of  jewelled  feelers  with 
an  electronic  control  that  stops  a 
film  instantly,  without  coasting, 
whenever  such  defects  appear.  Fur- 
thermore, it  does  this  many  times 
faster  than  the  most  expert  manual 
inspector,  and  much  more  accurately. 

Professional  engineering  counsel 
is  offered  on  all  film  inspection  and 
cleaning  problems,  and  on  film 
library  layout  and  operating  routines, 
on  a  non-obligation  collect  phone- 
call  basis,  to  Evanston,  111.  Area  Code 
312,  DAvis  8-7070.  iP 


SOS  Has  New  Front 
Projector  Editor 

NEW  YORK— A  new  way  of  direct 
front  projection  editing  by  means  of 
a  small  bench  or  table  mounted  unit 
has  been  announced  by  S.O.S.  Photo- 
Cine-Optics,  Inc.  This  device,  mea- 
suring 7  in.  by  6  in.  by  7  in.  is  said 
to  project  a  large  image  without 
flicker  or  distortion.  Called  the 
S.O.S.  Projectola,  it  is  designed  for 
viewing  by  a  number  of  persons 
simultaneously. 

A  four  element  projection  lens  with 
front  objective  40mm  diameter  com- 
prises the  optical  system  which  has 
been  coated  and  corrected  for  high 
illumination  and  sharp,  brilliant 
pictures. 

The  film  guiding  elements  have 
grooves  for  the  picture  and  sound- 
track, thus  safegarding  the  film 
against  damage  and  ensuring  uni- 
formly sharp  pictures  with  forward, 
reverse  or  still  projection.  Little 
adjustment  is  required.  The  gate 
holds  the  picture  in  focus  at  all  times. 

The  S.O.S.  Projectola  for  16mm 
silent  and  sound  films,  left  to  right 
operation,  including  lamp  and  pro- 
jection case  sells  for  $169.50.  Re- 
winds, rods  and  a  splicing  table  for 
the   unit   cost   $29.95    additional. 

iP 


MARTIN  KIRCHNER 

SPRINGFIELD,  MO.  —  Martin  A. 
Kirchner,  63,  suffered  a  fatal  heart 
attack  while  working  at  the  Gillioz 
Theatre  here.  He  had  been  employed 
at  the  Gillioz  since  it  opened  36  years 
ago. 

Mr.  Kirchner  was  a  member  of  IA 
local  447,  Springfield,  for  most  of 
that  time. 

Surviving  are  his  widow.  Edna  M.. 
two  daughters,  a  brother,  two  sisters 
and  two  grandchildren. 


A.  J.  Hatch  of  Strong 
Electric  Details  Xenon 
Lamp  to  Dealers 

CLEVELAND— The  place  of  the 
new  Xenon  projection  lamp  in 
motion  picture  theatres  was  the  sub- 
ject of  an  address  by  Arthur  J. 
Hatch,  president  of  the  Strong  Elec- 
tric Corp.,  before  more  than  30  inde- 
pendent theatre  supply  dealers  at  a 
special  meeting  at  the  Allied-TESMA 
TEDA  meet  at  the  Sheraton-Cleve- 
land. Hatch  also  presented  a  low 
current  economy  model  projection 
lamp.  k 

The  dealers  were  briefed  on  the 
Strong  sales  policy,  new  prices  and 
discounts. 

Cliff  Callender,  sales  manager 
discussed  the  blown  arc  type  lamp 
and  cold  type  reflectors.  William 
White,  sales,  and  Harold  Plumadore, 
projection  lighting  engineer,  were 
also  in  attendance.  A  question  and 
answer  session  also  was  on  the  pro- 
gram. 

Dealers  registered  at  this  special 
session  included  Jack  Dusman  of 
Baltimore;  Hal  Hornstein  of  Miami; 
George  Hornstein,  New  York  City; 
Lou  Walters.  J.  H.  Elders  and  J.  C. 
Skinner,  Dallas;  Joe  Birdwell,  El 
Paso;  Dick  Sutton,  Des  Monies; 
William  Edmondson  and  A.  E.  Geis- 
sler.  Atlanta;  Harold  Wayne  and 
Tom  Graham.  Charlotte;  H.  J. 
Ringold,  Grand  Rapids:  Roy  Smith, 
Jacksonville;  Vivian  Harwell,  Birm- 
ingham; S.  L.  Contos.  Lou  Watke, 
and  J.  E.  Miller,  Los  Angeles;  A. 
Weiss  and  N.  Lubich,  Cleveland;  Al 
Boudouris.  Toledo;  Bob  Tanker- 
sley,  Denver;  Phil  Wicker,  Greens- 
boro; John  Kinney,  Detroit;  Al 
Morton,  Houston;  Ernest  J.  Comi 
and  Peter  E.  Comi,  Boston;  Armond 
Besse,    Montreal.  .  IP 


Norelco 

projection 
equipment 

Available   from 

leading  theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion      Picture      Equipment      Division 
100  E.  42nd  St.,  New  York  17,  N.Y. 


International  Projectionist         February,  1963 


13 


THEATRE  ORGAN 


**  EDDIE  LAYTON  AT  THE  MIGHTY 
WURLITZER.  Eddie  Lay  ton.  Mercury  SR- 
60105  (stereo).  Old  and  new  pops  played 
on  the  organ  in  the  broadcasting  studio 
above  the  Music  Hall,  not  the  giant  organ 
in  the  Radio  City  Music  Hall,  itself.  The 
added  percussive  accompaniment  seems 
unnecessary,  considering  the  percussive  re- 
sources of  a  theatre  organ.  One  of  the 
numbers  ("I'm  a  Little  Teapot")  is  musi- 
cally a  mess;  another  ("Baubles,  Bangles, 
and  Beads")  is  spoiled  by  the  presence 
of  low  frequencies  which  may  cause 
groove-skipping  and  other  tracking  diffi- 
culties. Most  of  this  record  is  very  good, 
however. 

PIPES  AND  PEDALS,  Charles  Rand. 
Coronet  CXS-152  (stereo).  Classical  melo- 
dies somberly  and  unimaginatively  styled. 
Definitely  too  "'churchy"  for  the  theatre. 
Limited  display  of  organ  voices,  and  no 
vibrato  is  used.  As  might  be  expected, 
Handel's  "Largo,"  famous  showpiecs  for 
the  classical  organ,  is  present,  but  cut 
off  in  the  middle  of  a  bar  at  the  end 
of  the  second  side!  From  the  musical 
point  of  view,  this  is  equivalent  to  de- 
capitating Handel,  himself.  I  cannot  re- 
commend this  record,  and  mention  it  only 
because  so  many  stores  have  it  on  their 
"bargain"  shelves. 

**  ORGAN  MAGIC,  Kenneth  Lane. 
Tops  L-1707  (monaural).  Standard  pop 
tunes  well  played  on  the  Palace  Theatre 
organ. 

***  SOPHISTICATED  PIPES,  Don 
Baker.  Capitol  T-1171  (monaural).  The 
famous  organist  Don  Baker  has  never  been 
heard  to  better  advantage  on  a  recording. 
His  superbly  masterful  stylings  are  redo- 
lent of  the  dramatic  eloquence  we  associ- 
ate with  the  theatre  organ.  This  is  a 
thrilling  and  often  haunting  evocation  of 
organ  moods  on  the  beautiful  Robert 
Morton  pipe  organ,  considered  by  many 
to  be  the  finest  theatre  organ  ever  made. 
Marvelous! 

***  AMERICA'S  FAVORITE  ORGAN 
HITS,  Don  George.  Reprise  R-6008  (mon- 
aural). Meltingly  moody  interpretations 
of  older  pops  very  beautifully  played  by 
a  master  of  the  theatre  organ.  Wonder- 
fully  enjoyable. 

*  LEON  BERRY  AT  THE  GIANT 
WURLITZER  ORGAN,  VOL.  4,  Leon 
Berry.  Audio  Fidelity  AFSD-5845  (stereo). 
The  Wurlitzer  recorded  on  this  disc  is  not 
exactly  a  giant,  but  a  rather  small  one 
located  in  the  basement  of  Organist  Berry's 
home  near  Chicago.  The  great  variety  of 
percussion  attachments  which  have  been 
added  to  this  organ  are  overdisplayed, 
making  the  older  pop  tuns  distinctly 
mechanical   and   unexpressive   in    rendition. 

JOHN  KILEY  PLAYS  BIG  PIPE 
ORGAN,  VOL.  I,  John  Kiley.  Diplomat 
2203  ( monaural ) .  Old  standards  and 
chestnuts  muddied  by  "nervous"  phrasing 
and  a  tiresomely  "quivery"  pipe  organ 
which  doesn't  seem  to  be  quite  in  tune — 
the  "calliope"  in  the  Keith  Memorial 
Theatre,  Boston.  Not  even  one  star  for 
this    record. 

JOHN  KILEY  PLAYS  BIG  PIPE 
ORGAN,  VOL.  II,  John  Kiley.  Diplomat 
2207  (monaural).  It  may  be  only  a  matter 
of  personal  taste,  but  this  writer  feels  that 
Vol.  1  (above)  is  quite  enough.  Kiley's 
phrasing  often  appears  nervously  hurried, 
and  some  of  the  melody  chords  seem  con- 
fused. But  perhaps  the  organist  is  not  so 
much   to   blame  as  the  organ.    The  vibrato 

14 


from    page    7 


is  so  excessively  quivery  that  tonal  purity 
is  lost  and  some  of  the  pipes  sound 
slightly  out  of  tune.  The  music  some- 
how fails  to  "communicate,"  and  tends  to 
become  irritatingly  tiresome  as  it  goes  on 
— and  on  and  on. 

MAGIC  FINGERS  OF  MERLIN,  Mer- 
lin. Grand  Prix  K-141  (monaural).  Mer- 
lin's fingers  are  not  nearly  as  magical  as 
his  identity.  All  the  selections  on  one 
side  of  this  disc  are  duplicated  exactly  by 
numbers  on  John  Kiley's  Diplomat  2203, 
and  all  on  the  other  side  by  Kiley's  Diplo- 
mat 2207.  They  are  exactly  the  same.  The 
out-of-tune  vibrato  is  the  same,  and  this 
reviewer's  estimation  of  the  music  is  the 
same. 

Worse  than  this,  five  of  Kiley's  Diplomat 
renditions  have  popped  up  on  ORGAN 
FANTASIES— JESSE  CRAWFORD  (Spin- 
orama  S-102).  John  Kiley  may  be  Merlin, 
but  he  is  not  Jesse  Crawford! 

Organ  recordings  with  precussive 
accompaniments  (bongo  drums, 
traps,  cowbells,  rattles,  etc.)  are  not 
recommended  for  use  where  theatre- 
organ  solos  are  desired.  In  general, 
these  percussion-accompaniment  re- 
cords sacrifice  musical  quality  to 
show  off  high-fidelity  recording  or 
the  stereophonic  effect.  These  are 
"sound  samples,"  not  works  of  music, 
and  hence  generally  fail  to  perform 
the  functions  of  music,  which  are 
esthetic,  not  scientific.  There  is  no 
place  for  these  in  the  theatre. 

There  may  be  a  difference  of  opin- 
ion with  regard  to  organ  music  ac- 
companied by  some  other  instrument 
— a  piano,  harp,  saxophone,  harmon- 
ica, etc.  Many  people  feel  that  the 
organ  is  sufficient  unto  itself,  and 
that  no  independent  accompaniment 
is  needed.  Pianos  and  harps,  for 
example,  are  built  into  most  pipe 
organs,  and  may  be  played  from  the 
keyboard  by  the  organist.  An  inde- 
pendent accompanist  tends  to  subdue 
the  organ  because  the  organist,  aware 
of  the  power  of  his  instrument,  is 
always  on  guard  against  "drowning 
out"  the  accompanist.  A  full  organ 
played  with  the  swell  pedal  open  is 
even   louder  than   a  large   orchestra! 

If  you  want  to  try  out  something  a 
bit  off  the  beaten  track  of  indepen- 
dently accompanied  pipe  organ,  how- 
ever, vou  mav  find  ORGAN  IN  THE 
MODERN  MANNER  by  Perry  Bur- 
gette  with  trio  of  pleasing  listening 
experience.  (  Hi-Life  HLS-36,  stereo. ) 
It  features  organ  stylings  of  romantic 
favorites  with  instrumental  accom- 
paniments sandwiched  between  the 
straight  organ  solos  on  the  disc.  And 
there  is  something  strangely  be- 
witching about  the  organ — fluty  and 
celestially  remote  like  music  from  the 
stars.    An  odd  one,  but  worth  trying. 

iP 


Skouras   Building 

Theatre   in 

New   York  Suburb 

NEW  YORK  —  Skouras  Theatres 
Corp.,  will  build  a  theatre  in  Lefrak 
City,  near  Rigo  Park,  Queens,  Long 
Island,  it  was  announced  by  Salah 
M.  Hassanein.  president  of  the  cir- 
cuit. The  theatre  will  be  located  in 
the  heart  of  a  vast  apartment  house 
complex  which  is  presently  under 
construction  by  the  Lefrak  Organiza- 
tion. 

According  to  Mr.  Hassanein,  the 
theatre  will  be  one  of  the  most  luxur- 
ious showcases  ever  built  in  the 
metropolitan  area.  Included  in  the 
plan  is  provision  for  roof-top  parking 
with  direct  access  to  the  theatre. 
The  attraction  signs  will  face  the 
Long  Island  Expressway.  iP 

New   Brochure 

A  new  brochure  on  a  complete  line 
of  incandescent  and  carbon  arc  spot- 
lights for  theatres  has  just  been  pro- 
duced by  the  Strong  Electric  Corp. 
It  includes  a  description  and  illus- 
tration of  each  model,  together  with 
range  of  focal  length  lens  system,  and 
specifications. 

A  copy  will  be  sent  to  anyone  ad- 
dressing a  request  to  the  Strong 
Electric  Corp..  31  City  Park  Avenue, 
Toledo  1,  Ohio.  iP 

Sound   Service    Men 
Get   Wage    Increase 

Sound  service  engineers  employed 
by  Altec  and  RCA  this  month  are  re- 
ceiving first  benefits  of  a  two-step 
wage  increase  negotiated  by  the 
IATSE  general  office.  The  raise 
amounts  to  $5  per  week  for  1963.  to 
be  followed  by  another  $2.50  in 
1964.  That  will  bring  the  minimum 
weekly  pay  of  IA  sound  men  to 
$160. 

The  automobile  allowance  has  been 
increased  from  7c  to  8c  per  mile. 
Special  meal  periods  have  been  pro- 
vided, and  the  clause  covering  com- 
pensation for  work  on  holidays  has 
been   strengthened. 

The  contracts  with  Altec  and  RCA 
normally  become  the  pattern  for 
later  settlements  with  other  sound 
service  companies.  iP 

MONTHLY  CHAT 

(Continued  from  Page  3) 


of  today's  new  developments  in 
screen  presentation.  It's  time  for  the 
film  industry  to  launch  a  public  rela- 
tions campaign  to  recognize  the  the- 
atre projectionist  as  an  important 
man  in  the  film  house.  iP 


International  Projectionist  February,  1063 


» AUTHORITATIVE 
» COMPREHENSIVE 
» PRACTICAL 


Acclaimed  by  leading  technicians  in 
the  industry  as  the  most  comprehen- 
sive and  down-to-earth  handbook  pub- 
lished to  date  on  the  subject  of  motion 
picture  projection.  Ideally  suited  for 
study  and  reference  by  your  opera- 
tors. 


ROBERT  A.  MITCHELL'S 


MANUAL  OF  PRACTICAL  PROJECTION 


HANDY    51/2"    x    8l/2"    SIZE    —    450    PAGES 


ILLU  STRATED 


CROSS     INDEXED     FOR     EASY     REFERENCE 


*k  Here  is  one  of  the  most  help- 
ful works  ever  published  for 
the  motion  picture  projection- 
ist. A  handsomely  bound  and 
profusely  illustrated  compila- 
tion of  the  BEST  of  the  Robert 
A.  Mitchell  articles  that  have 
appeared  in  "International 
Projectionis  t,"  revised, 
brought  up  to  date. 


*  The  author  covers  clearly 
and  thoroughly  every  aspect  of 
motion  picture  projection,  pre- 
senting his  material  in  easily 
understood  language — not  too 
technical,  yet  technically  ac- 
curate. The  Manual  is  divided 
in  8  sections  and  contains  30 
chapters  —  a  valuable  refer- 
ence work  no  progressive  pro- 
jectionist should  be  without. 


! 


SECTION      HEADINGS 


(1)  Film;  (2)  The  Projector;  (3)  Projection-Optics.  Screens:  (4)  The  Arc  Lamp; 
(5)  General  Projection  Practice;  (6)  Motors,  Generators,  and  Rectifiers;  (7) 
Sound   Reproduction   Systems;    (8)    Projection   of  Color  and   3-D   Films,   Formulas. 


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International  Projectionist  February,  1963 


15 


WHY  PAY  25% 
MORE  FOR 
PROJECTION 
LAMPS  AND 
RECTIFIERS? 


SAVE  BIG  MONEY 

PROOF: 

(See  any  published  list  prices  of  all  makes) 
on 


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YOU  GET  MORE  LIGHT 
AND  RADICALLY  CUT 
OPERATING   COSTS 

Here's  why: 

-Ar  Burns  a  20-inch  (not  just  a  17%")  black  11  mm.  positive  carbon 
at  85  amperes,  consuming  only  7  inches  per  hour,  insuring  214 
hours'  operation  at  only  15.7c  per  hour.  Projects  about 

10%  MORE  SNOW  WHITE  LIGHT 
than  lamps  burning  8  mm.  copper  coated  carbons  at  70  amperes, 
which  costs  23c  per  hour. 

•  OBTAINS  SCREEN  UNIFORMITIES  OF  UP  TO  100% 

•  FULL  18-INCH  DIAMETER  REFLECTOR. 

An  Optical  System  Acknowledged  To  Have  No  Peer  In  Efficiency. 

•  Both  positive  and  negative  drive  motors  are  Bodine  geared 
head— the  finest.  Each  motor  has  a  separate  feed  controL 


ELECTRIC  CORPORATION 

31  City  Park  Avenue  •  Toledo  I,  Ohio 

The  World's  Largest  Manufacturer 
of  Carbon  Arc  Lamps 

ALWAYS  FIRST 

with  new  and  efficient  developments. 


INTERNATIONAL 


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Daniel  Rehklau  and  Art  Partis  of  IA  Local  228  check  Strong   Electric  Corp.  lamps — Story  on  page  8. 


(X896°)     UOTSTAXa  *z>vzo 
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MARCH 
VOLUME  38 

40c  A  COPY 


1963 
NUMBER  3 

$3.00  A  YEAR 


SHARP  NEGATIVES  RATE  SHARP  PRINTS!  That's  the  only  way  to  get  and  hold  audience  attention-to 
do  full  justice  to  a  script.  Answer:  Go  Eastman  all  the  way—  negative  and  print-stock.  And  give  the 
print-maker  time  to  do  his  job  right.  Also,  in  the  case  of  questions— production,  processing,  projec- 
tion—always get  in  touch  with  Eastman  Technical  Service. 

For  more  information,  write  or  phone:  Motion  Picture  Film  Department,  EASTMAN  KODAK  COMPANY, 
Rochester  4,  N.  Y.  Or— for  the  purchase  of  film:  W.  J.  German,  Inc.  Agents  for  the  sale  and  distribution 
of  Eastman  Professional  Film  for  Motion  Pictures  and  Television, 
Fort  Lee,  N.  J.,  Chicago,  III.,  Hollywood,  Calif. 


EASTMAN  FILM 


International  Projectionist        March  1963 


INTERNATIONAL 

PROJECTIONIST 

Including  a  special  Audio-Visual  section  relat- 
ing to  the  operation  and  maintenance  of  A-V 
equipment  in  the  educational  and  industrial 
fields. 


Volume  38       March,  1963        No.  3 


FRANK  W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY  GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment   Editor 


RAY  GALLO  ASSOCIATES 

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545  Fifth  Avenue,   New  York   17,  N.  Y. 

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IN  THIS   ISSUE 

Arc   Lamps  and   Power   4 

By  ROBERT  A.  MITCHELL 

The  Cover  Story  8 

Theatres   arrd    Pay   TV    10 

Letters  to  the  Editor   12 

New   Cinerama   Theatre    15 

"Talaria"    for   Pay  TV    16 

News  Notes — Technical  Hints — Miscellaneous  Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
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copyrighted  1963  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 


1 


VVVVV%VVVVVVVVVVVVVVVVVVVVVVVV%VVVVVVVVVVVVVVVVVVWVM 

MONTHLY  CHAT 

vvvvv»v»vvvvvvvvvv»vvvv»»vv»v»v»vvvvvv»v»vvvvvvvvww< 

FILM   HANDLING   BEGINS  AT   HOME 

No  useful  purpose  would  be  served  at  this  stage  by 
opening  up  the  perennial  question:  who  is  responsible 
for  the  poor  condition  of  prints  which  are  delivered  to 
the  theatres — the  projectionists  or  the  exchanges? 

Leaving  aside  the  exchange's  lack  of  care,  a  minority 
of  operators,  so  the  conscientious  projectionists  say, 
mutilate  the  prints  with  cue  marks  and  sloppy  patches 
and  badly  done  repairs. 

The  projectionist  knows  that  the  print  and  his  equip- 
ment is  the  bloodstream  of  the  film  industry,  because 
the  paying  customer  sees  the  print  the  operator  is  project- 
ing and  that  is  what  the  customer  will  see  whether  its 
perfect  print  or  a  scratchy  and  mutilated  one. 

So  the  good  craftsman  will  handle  the  print  carefully 
in  the  many  operations  in  the  booth,  such  as  its  inspec- 
tion, projection,  rewinding,   repair  and  storage. 

The  consensus  of  veteran  projectionists  is  that  about 
eight  operators  in  ten  will  handle  the  film  with  the 
utmost  care  in  addition  to  the  operations  in  the  booth 
such  as  repair  of  breaks,  badly  made  splices  and  tears. 
So  he  can  send  it  to  the  next  projectionist  in  runable 
condition  at  least. 

Then  maybe  the  laggards  in  the  booths  have  been 
disgusted  in  the  prints  delivered  to  the  theatre;  have 
gotten  tired  of  spending  two  or  three  hours  to  put  the 
prints  in  running  condition.  Maybe  the  exchanges  could 
give  a  good  lesson  to  the  minority  of  operators  who  don't 
handle  film  with  care  by  delivering  prints  in  fine  run- 
ning condition.  The  laggards  in  the  booth  have  the  per- 
fect alibi  for  continuing  their  slouchy  ways  if  the  ex- 
changes have  the  very  same  attitude. 

While  there  is  just  as  much  need  from  the  projection- 
ists to  exercise  greatest  care  in  handling  prints  as  for 
exchanges  to  do  so.  There  is  one  factor  of  negligence 
which  is  more  glaring  when  the  fault  is  with  the  ex- 
change. The  exchange  is  the  real  sponsor  of  the  picture 
and  should  set  a  good  example  by  seeing  that  the  print 
is  in  good  running  condition  before  delivering  it  to  the 
theatre. 

The   Projectionist   Responsible 

But  the  projectionist  is  responsible  for  screening  a 
picture  for  the  theatre  customers  in  the  best  condition 
with  the  poor  or  good  print  and  the  condition  of  his 
equipment. 

The  projectionist  has  to  be  conscientious  in  inspect- 
ing the  film  when  it's  first  delivered,  and  repair  breaks 
and  loose  splices  to  put  the  print  in  running  condition. 
The  boothmen  are  responsible  from  the  minute  the  print 
is  delivered  to  the  time  that  it  goes  out  of  the  projection 
room.  It's  their  responsibility  to  carefully  handle  the 
print  during  its  operation  in  the  projection  booth. 

The  big  city  showcase  houses  do  not  have  the  print- 
problem  the  subsequent  runs  do,  but  patrons  of  the  subse- 
quent run  theatres  pay  the  admission  price  and  their 
right  to  see  the  same  picture  is  as  valid  as  the  city 
folks,  because  the  picture  is  advertised  in  the  national 
magazines  as  glowingly  as  in  the  city  newspapers. 

Sad  to  say,  many  of  the  subsequent  run  theatres 
have  worn-out  projectors,  lamps  and  sound  systems.  But 
the  skilled  craftsman  makes  the  best  of  it  and  carefully 
handles  the  print. 

(Continued  on  Page  9) 


International  Projectionist         March  1963 


Volume  38 


March,   1963 


Number  3 


ARC  LAMPS  ARE    'FUSSY"  ABOUT 
THE  POWER  THEY  BURN! 

By  ROBERT  A.  MITCHELL 


It  doesn't  take  much  projection  experience  to  teach 
the  lesson  that  the  carbon  arc  is  mighty  particular  about 
the  electric  power  supplied  to  it.  So  narrow  is  the  mini- 
mum-maximum current  range  for  any  one  trim  of  car- 
bons, that  it's  inviting  trouble  to  ignore  the  current 
ratings  specified  by  the  carbon  manufacturers.  And  mat- 
ters are  complicated  by  the  fact  that  the  carbon  arc, 
like  any  other  gaseous  discharge,  is  a  greedy  "current 
hog"! 

We  can  burn  an  ordinary  household  light  bulb  at 
a  certain  standard  voltage,  and  that  is  that.  The  bulb 
takes  just  so  much  current  (amperes)  from  the  line, 
and  consumes  electric  power  at  a  constant  rate.  A  100- 
watt  bulb  never  takes  it  upon  itself  to  burn  up  150  or 
200  watts!  The  electrical  resistance  of  the  filament  re- 
mains constant  (for  all  practical  purposes)  over  a  wide 
range  of  supplied  voltages.  The  carbon  arc  behaves  very 
differently — the  more  current  it  gets,  the  more  it  wants! 

Apply  a  certain  voltage  across  the  terminals  of  an  arc 
lamp,  then  strike  the  arc  to  start  it  burning.  This  voltage, 
if  supplied  by  a  powerful  source  of  direct  current,  results 
in  the  passage  of  a  certain  number  of  amperes  in  the 
arc-lamp  circuit.  But  as  the  arc  stream  (composed  of 
gases  and  electrons)  gets  hotter,  it  becomes  more  con- 
ductive, and  the  resistance  of  the  arc  to  the  passage  of 
current  decreases.  More  current  (amperes)  then  flows 
through  the  arc,  making  the  arc  stream  still  hotter  and 
more  conductive.  Almost  immediately  (if  the  fuses  don't 
blow  or  the  wiring  doesn't  burn  up)  the  arc  becomes  a 
virtual  short  circuit,  flaming  violently  along  the  length 
of  the  carbons.  A  "fixed  resistance,"  such  as  a  light-bulb 
filament,  never  behaves  like  this. 

In  order  to  burn  properly,  therefore,  the  carbon  arc 
must  be  electrically  controlled  in  an  automatic  fashion. 
The  supply  of  current  must  be  automatically  limited  as 
the  arc  stream  loses  resistance  and  tends  to  pass  more 
and  more  current.  Rectifiers  limit  the  current  by  means 
of  the  reactance  of  the  transformer  coils.  The  greater  the 
current  consumed  by  the  arc,  the  greater  the  opposing 
counter-electromotive  force  which  limits  the  voltage  (and 
hence  the  current)  in  the  rectifier  circuit.  This  process 
is  a  continuous  one,  and  results  in  a  constant  current  in 
the  arc-lamp  circuit  as  long  as  the  carbon-feeding  mecha- 
nism of  the  lamp  maintains  a  constant  arc-gap  length — 


the  distance  between  the  tips  of  the  positive  and  negative 
carbons. 

The  flow  of  current  is  automatically  limited  when  a 
generator  is  used  by  a  "ballast  rheostat"  which  is  con- 
nected in  series  with  the  arc  lamp.  The  ballast  is  a 
"fixed"  ohmic  resistor  having  sufficient  resistance  to  the 
flow  of  arc  current  to  develop  a  "voltage  drop"  across 
its  two  terminals.  As  more  current  flows  through  the  arc, 
more  flows  through  the  ballast  rheostat,  too.  More  cur- 
rent means  a  higher  voltage  in  the  circuit,  and  hence  a 
proportionately  greater  voltage  drop  across  the  ballast. 
This  limits  the  voltage  (and  hence  the  current,  or  am- 
peres) which  can  flow  through  the  arc.  The  arc  stream 
then  stops  getting  hotter  and  more  conductive,  and  a 
constant  current  is  established. 

Unfortunately,  a  ballast  rheostat  wastes  valuable  pow- 
er by  converting  it  to  heat  (as  any  resistance  does),  but 
its  use  is  absolutely  necessary  in  an  arc  circuit  supplied 
by  a  multiple-arc  motor-generator  set. 
Wiring    Requirement    for   Arcs 

A  high-amperage  current  needs  heavy  wires,  connect- 
ing lugs,  and  switches  to  conduct  it  without  loss  from 
its  source  (generator  or  rectifier)  to  the  unit  in  which 
it  is  used  (carbon  arc  or  xenon  lamp). 

B  &  S  wire  size  No.  3  is  the  smallest  that  should  ever 
be  used  between  the  power  supply  and  an  arc  lamp, 
no  matter  how  low-powered  the  lamp  may  be.  This  size 
will  serve  for  all  arc  currents  up  to  100  amps.  No.  2 
wire,  still  heavier,  should  be  used  for  currents  in  the 
100-120  amp.  range,  while  No.  1  wire  is  needed  for 
120-140  amps.  Arc  currents  more  powerful  than  140 
amps,  require  No.  0  wire.  Most  lamp  manufacturers 
recommend  that  wires  one  size  larger  be  used  whenever 
the  transmission  line  between  the  source  and  the  lamps 
exceeds  15  or  20  feet  in  length.  This  recommendation 
is  important  for  those  theatres  having  a  motor-generator 
set  located  in  the  cellar,  far  removed  from  the  pro- 
jection  room. 

The  xenon  lamp  equipments  presently  on  the  market 
have  power  ratings  ranging  from  900  to  2500  watts. 
These  xenon  lamps  are  served  by  No.  3  leads  from  the 
rectifiers  to  the  lamps. 

It  is  always  better  to  use  transmission  wiring  larger 
than  required  by  immediate  needs.  If  the  wires  are 
heavy    enough,    they    will    still    be    serviceable    when    a 

International  Projectionist        March  1963 


change  is  made  to  more  powerful  lamps.  Undersize 
wires  warm  up  when  carrying  the  40  to  180  amps, 
burned  in  an  arc  lamp.  This  is  dangerous,  particularly 
when  the  heat  is  confined  by  insulation,  cable  sheathing, 
conduits,  etc.  The  temperature  may  rise  high  enough 
to  char  the  insulation  and  render  the  transmission  wiring 
more  unsafe  than  ever. 

A  corroded  or  loose  connection  anywhere  in  an  arc- 
lamp  circuit  will  cause  serious  operating  difficulties 
even  when  the  transmission  wires  from  the  rectifier  or 
generator  to  the  arc  lamp  have  adequate  current-carrying 
capacity.  And  the  heavier  the  arc  current,  the  more 
likely  that  a  bad  connection  will  offer  erratic  resistance 
to  the  current  and  cause  the  arcs  to  behave  unpredictably. 
Thus  the  projectionist  is  never  allowed  to  forget  that  his 
projection  lamps  are  the  most  sensitive  of  electrical  de- 
vices. They  brook  no  deviations  whatever  from  their 
normal  current  requirements. 

Are   the   Carbons   at    Fault? 

Time  and  again  the  carbons  get  unfairly  blamed  for 
electrical  defects  in  the  arc-lamp  circuits.  If  the  carbons 
escape  the  projectionist's  wrath,  the  current  source  or 
the  lamps,  themselves,  may  be  the  targets  of  a  few  choice 
cuss-words.  And  while  it  is  true  that  carbons,  generators, 
rectifiers,  and  lamp  mechanisms  can  be  at  fault,  a  mis- 
behaving arc  is  usually  only  reacting  to  current  variations 
or  inadequacies  caused  by  a  bad  connection  at  the  current 
source,  the  ballast  rheostat,  the  fuse  blocks,  or  in  the 
lamp,  itself. 

The  heat  of  the  arc  is  very  bad  for  the  wiring  inside 


FOR  CURRENTS  FROM 

75  TO  90  AMPERES 
90  TO  110  AMPERES 
110  TO  135   AMPERES 


FOR  RUNS  UNDER 

15  FEET 
USE    WIRE     SIZE 

•  3RH 

•  2  RH 
"  I   RH 


FOR    RUNS  OVER 

15  FEET 
USE   WIRE   SIZE 


Courtesy  Strong  Electric  Corp. 


FIG.  2 — A  current-controlling  ballast  rheostat  and  a  lamp- 
house  table  switch  are  absolutely  necessary  in  each  arc -lamp 
circuit  powered  by  a  motor-generator  set.  Rectifiers,  on  the 
other  hand,  require  no  heat-producing,  current-wasting 
ballast.  Many  rectifier  manufacturers  also  recommend  elimi- 
nation of  the  usual  table  switch,  the  current  being  turned 
on  and  off  at  the  rectifier,  either  directly  or  by  means  of 
a  relay  button  at  the  lamp. 

International  Projectionist        March  1963 


Binding  post  tightened  / 
for   better   contact 


ndin^- 
post  lu£ 


FIG.  1 — An  electrical  binding  post  should  be  tightened  se- 
curely in  order  to  insure  good  electrical  conductance.  Note 
how  the  contact  area  of  a  round  wire  (shown  in  cross-sec- 
tion) is  gready  increased  by  squeezing  it  out  of  shape 
when  the  binding  post  nut  is  tightened.  A  sufficiendy  large 
contact  area  is  best  established  by  use  of  a  washer-shaped 
binding-post  lug.  Insufficient  contact  may  offer  enough 
resistance  to  the  flow  of  current  to  develop  heating  and 
"burning"  of  the  connection.  This  is  especially  true  of  arc- 
lamp  circuits  because  of  the  heavy  currents  involved. 

the  lamphouse.  The  flexible  stranded-wire  leads  are  espe- 
cially liable  to  deterioration.  The  individual  copper 
strands  are  rather  fine,  and  consequently  expose  a  large 
total  surface  to  the  oxidizing  influence  of  the  air.  Badly 
oxidized  wires  offer  increased  resistance  to  the  flow  of 
current,  and  hence  hasten  their  own  destruction  by 
heating  up. 

Flexible  wires  will  last  for  many  years  if  large 
enough  to  carry  the  current  without  heating,  but  may 
in  some  cases  deteriorate  rapidly  in  a  hot,  poorly  venti- 
lated lamphouse.  (Another  good  reason  to  heed  the 
manufacturer's  advice  on  lamphouse  ventilation ! )  Ex- 
amine the  arc  leads  in  each  lamphouse  to  make  sure  that 
they  are  stiff  and  springy.  If  the  individual  strands  are 
dark  brown  in  color,  and  seem  to  be  brittle  and  crumbly 
when   bent   sharply,   the  wiring  should  be   replaced. 

The  carbon-holder  or  feed-head  binding  posts  should 
be  examined  several  times  a  year  for  evidence  of  loose- 
ness or  corrosion.  Lugs  and  other  contact  surfaces 
should  be  polished  with  extra-fine,  or  No.  00  sandpaper, 
and  the  binding-post  nuts  brought  up  tight  when  re- 
placed. A  loose  contact  "burns"  and  fails  to  transmit  the 
power  properly. 

Never  use  emery  paper  or  cloth  for  polishing  or 
cleaning  electrical  contacts.  Emery  dust  conducts  current 
to  a  slight  extent.  Sandpaper  is  safe  because  quartz  sand 
( unless  molten )    is  a  non-conductor  of  electricity. 

Inasmuch  as  the  same  number  of  amperes  flow  in 
all  parts  of  a  circuit,  the  connections  should  also  be 
clean  and  tight  at  the  generator  or  rectifier  terminals,  the 
ballast  rheostat,  and  at  all  fuse  blocks  and  switches.  In 
cases  where  the  binding  posts  are  so  badly  corroded  that 
the  lug  nuts  cannot  be  loosened  without  damage,  a  few 
drops  of  kerosene  and  thin  lubricating  oil  applied  to 
the  binding  post  and  left  on  for  several  hours  often 
works  miracles. 

The  carbon-holding  jaws  of  simplified  HI  lamps  and 
the  contacts  of  rotating-positive  HI  lamps  should  normal- 
ly never  be  filed  or  sandpapered.  Filing  roughens  them 
and  may  get  them  "out  of  true"  or  spoil  the  fit.  Rough- 
ened metal,  by  the  way,  oxidizes  more  rapidly  than 
smooth,  highly  polished  metal. 

Carbon  holders  are  usually  made  of  special  heat- 
resistant  bronzes;  and  certain  high-powered  lamps  have 
water-cooled  contacts  of  pure  silver,  which  is  the  best 
conductor  of  electricity  known.  The  dull  brownish  color- 
ation produced  by  a  microscopically  thin  film  of  copper 
oxide  (or  silver  sulfide)  on  the  surface  of  the  metal 
need  cause  no  concern,  and  should  not  be  removed. 
It  offers  no  measurable  resistance  to  the  passage  of 
current;  and  its  formation  is  a  normal  occurrence.  The 
copper  commutator  bars  of  motors  and  generators  are 

5. 


considered  to  be  in  good  condition  only  when  this  red- 
dish-brown oxide  film  is  present! 
Generators   Good,    But   Wasteful 

Motor-generator  sets  are  still  retained  in  many  the- 
atres using  simplified  HI  arc  lamps.  Motor-generators 
have  the  advantage  of  delivering  extremely  smooth  direct 
current  relatively  unaffected  by  AC  line-voltage  fluctu- 
ations. This  is  important  in  neighborhoods  where  the 
main  current  is  poorly  regulated.  But  motor-generators 
are  noisy,  they  are  relatively  costly  to  purchase  and  to 
maintain  in  good  working  order,  and  they  require  the 
use  of  current-wasting  ballast  rheostats.  Even  though  a 
motor-generator  set,  considered  by  itself,  may  have  the 
same  85%  power-converting  efficiency  of  a  selenium, 
tube-type,  or  silicon  diode  rectifier,  it  is  much  less  effi- 
cient than  a  rectifier  in  actual  service  because  of  the 
unavoidable  ballast  losses. 

The  voltage  drop  across  a  ballast  rheostat  (when 
the  arc  is  burning  normally)  is  the  difference  between 
the  generator  output  voltage  (indicated  by  the  volt- 
meter in  the  control  cabinet)  and  the  actual  voltage 
drop  across  the  arc.  This  difference  should  never  be  less 
than  15  volts  for  the  smallest  simplified  HI  ("Suprex") 
arcs,  or  less  than  25  volts  for  the  most  powerful  rotating- 
positive  HI  arcs.  An  excessively  large  ballast  drop  insures 
stable  burning  of  the  arcs,  but  also  wastes  electric 
power  unnecessarily. 

In  general,  the  ballasts  should  be  adjusted  so  that 
the  arcs  burn  at  their  maximum  rated  current  or,  better, 
at  2  or  3  amperes  above  the  rated  maximum.  Then  the 
generator  voltage  is  slightly  decreased  by  means  of  the 
field  rheostat  (usually  located  in  the  generator  control 
cabinet)  until  the  current  drawn  by  the  normally  burn- 
ing arc  is  at  the  desired  value  in  the  current  range 
recommended  by  the  carbon  manufacturer  for  the  size 
of  trim  being  used.  The  voltage  drop  occasioned  by  the 
very  slight  resistance  of  the  transmission  line  is  so  small 
that  it  may  be  ignored. 
"Creeping"   Arcs   in   Suprex    Lamps 

Certain  lower-priced  simplified  HI  arc  lamps  have 
a  fixed  positive-negative  carbon  feed  ratio.  The  lamp 
manufacturer  has  assumed  that  the  positive  carbon  will 
be  consumed  just  so  much  faster  than  the  negative  car- 
bon, and  accordingly  has  threaded  the  carbon-feed  shafts 

Positive 
electrode 


UXl 


ijiary^ 


mirror 


?1 


Film 
aperture 


Negative 
electrode 

PIG.  3 —The  optical  system  of  a  xenon-bulb  light  source 
is  similar  to  the  optics  of  a  carbon-arc  reflector  lamp.  The 
spherical  auxiliary  mirror,  not  used  in  a  carbon  arc  lamp 
except  the  "blown-arc"  type,  nearly  doubles  the  luminous 
output  of  the  lamp  and  smoothes  the  screen  illumination 
by  superimposing  an  inverted  image  of  the  xenon  arc  upon 
the  light  source,  itself. 

Unlike  the  carbon  arc,  which  emits  most  of  its  light 
from  a  crater  in  the  tip  of  the  positive  electrode,  the  xenon 
lamp  emits  its  light  from  the  gaseous  discharge  between 
two  tungsten  electrodes. 


r 


+- 

Rectifier 


iii 

3-phase  A.C. 


\  ,\  Xenon 
bulb 


1 — r 


Igniter 


'      I  Combination  con-> 
©       trol  pushbutton 
for  igniter  and 
rectifier. 


FIG.  4 — The  carbon  arc  has  movable  electrodes  which  are 
brought  together  and  then  separated  to  establish  a  current- 
conducting  arc,  but  the  xenon  bulb  has  fixed  electrodes.  The 
low-voltage,  high-amperage  current  needed  for  this  lamp 
cannot  pass  until  a  conducting  path  has  been  established 
through  the  xenon  gas  by  a  high-voltage  spark.  This  is 
furnished  by  an  ignition  device  which  automatically  cuts 
in  the  low-voltage  operating  circuit  the  moment  a  spark 
jumps  between  the  electrodes.  Actual  operation  of  a  xenon 
projection  lamp  is  extremely  simple — just  press  a  button! 
No  optical  adjustments  are  necessary  once  the  long-life 
bulb  has  been  installed  and  "lined  up". 

to  correspond  with  this  particular  ratio.  Actually,  this 
ratio  (whatever  it  may  be)  obtains  only  at  one  definite 
arc  current.  Other  positive-negative  feed  ratios  are  ob- 
served at  other  arc  currents  even  when  the  same  trim 
of  carbons  is  used. 

If  the  current  be  decreased  or  increased  in  a  lamp 
having  a  fixed  feed  ratio,  the  positive-negative  burning 
ratio  will  be  changed.  No  way  is  provided  for  the  pro- 
jectionist to  compensate  for  the  change  in  such  a  lamp: 
all  he  can  do  is  make  sure  that  the  current  is  maintained 
at  a  value  which  will  hold  the  arc  in  focus. 

Suppose  that  the  current  is  increased  for  some  reason, 
perhaps  to  get  a  brighter  picture  or  to  get  a  whiter, 
more  efficient  light.  The  rate  of  positive  consumption 
then  increases  over  the  rate  of  negative  consumption 
relative  to  the  feed  ratio  at  which  the  lamp  was  set  at 
the  factory.  What  happens?  The  entire  arc  creeps  out  of 
focus  away  from  the  mirror,  and  the  light  on  the  screen 
gradually  becomes  dim  and  bluish.  The  reverse  happens 
when  the  current  is  decreased,  perhaps  for  the  purpose 
of  saving  money  on  carbons — a  false  economy,  by  the 
way.  The  positive  burning  rate  decreases  over  that  of 
the  negative,  and  the  entire  arc  creeps  toward  the  mirror. 
The  screen  light  then  becomes  dim  and  brownish. 

If  a  radical  increase  or  decrease  in  arc  current  is 
desired  in  a  fixed  feed-ratio  Suprex  lamp,  it  is  best  to 
use  the  next  larger  or  smaller  trim  of  carbons.  This  is 
sometimes  possible  without  having  to  replace  the  carbon 
holders,  but  not  always.  At  all  events,  we  suggest  that 
the  size  of  trim  chosen  be  burned  as  close  to  the 
maximum  rated  current  as  possible  in  order  to  get  the 
brightest,  whitest  light.  It  has  been  determined  by  actual 
test  that  a  7-  and  6-mm  Suprex  (copper-coated)  trim 
burned  at  50  amps,  gives  fully  30%  more  screen  light 
than  an  8-  and  7-mm  Suprex  trim  burned  at  60  amps! 

There  is  more  leeway  in  the  choice  of  arc  currents 
for  burning  any  particular  Suprex  trim  if  the  lamp  has  a 
separate  feed  control  for  the  negative  carbon.  Even  so, 
it  is  best  to  hang  pretty  close  to  the  maximum  rated 
current  for  the  carbons  in  order  to  obtain  the  kind  of 
light  that  pleases  the  cash  customers. 

Arc   Gap   in    Rotating    HI    Lamps 

Higher-powered  HI  arc  lamps — those  having  rotating 
positive    carbons — respond    to    current    variations    in    a 
(Continued  on  Page  11) 

International  Projf.ctionist        March  1963 


A  Scene  From  America's  Projector  Carbon  Center. 


Testing  for  arc  consumption  and  light  distribution 


"Every  day  is  'double -feature'  test  day  at 
our  projection  booth  in  Fostoria,  Ohio" 


Bill  Brenner 


You're  looking  into  the  motion 
picture  industry's  most  unusual 
projection  booth.  We  run  the 
same  "double-feature"  every 
day —fifty-two  weeks  a  year.  Our 
program  covers  two  important 
phases  of  "National"  projector  carbon  produc- 
tion —  the  testing  of  arc  consumption  and  light 
distribution.  Their  ultimate  results  are  to  help 
you  obtain  the  finest  picture  quality! 

Tests  are  conducted  on  representative  sam- 
ples from  every  lot  of  projector  carbons  manu- 
factured in  Fostoria,  Ohio.  This  specialized 


says  BILL  BRENNER 

National  Carbon  Sales  Engineer 

quality  control  effort  not  only  pays  dividends 
to  the  theatre  owner  in  projection  carbon  econ- 
omy, but  assures  movie  patrons  the  best-lighted 
indoor  or  outdoor  presentations  that  carbon 
dollars  can  buy ! 

Quality  manufacturing  and  precision  testing 
are  only  a  part  of  the  "National"  projector  car- 
bon story.  For  45  years  National  Carbon  has 
backed  theatre  owners  with  the  industry's  most 
dependable  technical  service. 

Our  Sales  Engineers  are  equipped  with  to- 
day's most  modern  test  devices ...  to  assure  you 
maximum  light  efficiency  on  your  screen. 

Contact 

Mr.  National  Carbon    *  »**" 


UNION 
CARBIDE 


"National"  and  "Union  Carbide"  are  registered  trade-marks  for  products  of 

NATIONAL  CARBON   COMPANY 

Division  of  Union  Carbide  Corporation  •  270  Park  Avenue  •  New  York  17,  N.  Y, 
In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


The  Cover  Story: 

Local  228  at  the  Valentine  Theatre 


IATSE  Local  #228  had  been  organ- 
ized but  one  year  when  Daniel 
Rehklau.  shown  at  the  left  in  the 
cover  illustration,  became  a  member 
in  1912.  For  the  next  half  century  he 
worked  in  the  booths  of  many  Toledo 
theatres.  In  fact,  he  has  never  oper- 
ated outside  that  city.  During  the 
last  12  years  he  has  been  at  the 
Valentine  Theatre,  until  recently  a 
Loew's  operation. 

He  particularly  recalls  when  he  was 
employed  at  the  Vita-Temple,  the 
first  theatre  outside  New  York  City 
to  present  talking  pictures. 

With  Rehklau  in  the  Valentine 
booth  is  Art  Partis,  business  agent  of 
Local  228.  Although  he  has  worked 
in  Toledo  theatres  since  1945,  he  has 
just  joined  the  Valentine  crew. 

These  craftsmen  are  shown  operat- 
ing the  recently  installed  new  low 
current  Strong  Electric  Corp.  pro- 
jection arc  lamps  using  a  standard 
20"  by  11  mm  carbon  trim.  These 
lamps  provide  what  both  the  men 
claim  to  be  by  far  the  most  evenly 
distributed  screen  light  they  have  ever 
enjoyed.  Actual  light  readings  at  the 
Valentine  have  proven  a  distribution 
of  87%  over  the  40-foot  screen. 
Rehklau  also  says  that  these  lamps 
are  the  easiest  to  operate  of  any  he 
has  had  during  50  years  as  a  pro- 
jectionist. 

Controls  on  the  lamps  are  "self- 
suggestive,"  providing  ease  of  ad- 
justment. The  lamps  have  18-inch 
reflectors  and  improved  carbon 
imager  screen  and  carbon  control 
system. 

The  Valentine  is  owned  by  Jack 
Armstrong,  who  operates  23  theatres 
in  Northwestern  Ohio.  Armstrong 
was  recently  elected  president  of 
Allied  States.  He  got  his  start  in  the 
theatre  projection  business  as  an 
operator  in  the  Cla-Zel  Theatre,  Bowl- 
ing Green.  Ohio. 

Born  in  Napoleon,  Ohio,  he  started 
there  as  an  usher  35  years  ago  in 
1928,  and  worked  up  to  management 
with  Clark  M.  Young.  Later  went  to 
work  for  Butterfield  as  manager  in 
1932  at  Jackson,  Mich.,  and  manager 
for  the  Schine  Circuit. 

Mr.  Armstrong  was  associated  with 
Carl  Schwyn  for  14  years  in  opera- 
tion of  theatre  circuit  as  general 
manager,  booking  and  buying,  and 
subsequently  a  partner  upon  Mr. 
Schwyn's  retirement  from  theatre 
operations  and  purchased  the  balance 

S 


Jack  Armstrong 

of  theatres.  The  circuit's  headquar- 
tered in  Bowling  Green,  Ohio,  oper- 
ates 11  drive-ins  and  14  indoor 
theatres,  all  located  in  northwestern 
and  central  Ohio  and  served  from  the 
Cleveland  exchange  area. 

Additionally  he  is  a  director  and 
vice  president  of  Theatre  Owners  of 
Ohio,  member  of  Variety  Tent  No.  6, 
Cleveland,  member  of  Bowling  Green 
Country  Club,  director  of  Downtown 
Toledo  Associates,  also  member  and 
past  president  of  Bowling  Green 
Chamber  of  Commerce,  and  member 
of  Port  Clinton  Yacht  Club. 

His  home  is  in  Bowling  Green.  He 
married  Dorothy  Wilken  in  1935; 
they  have  one  married  daughter  and 
Jack  is  the  proud  grandfather  of  two 
young  grandsons.  iJP 

C.  W.  Handley  Retires 
From    National  Carbon 

NEW  YORK— Charles  W.  Handley, 
recognized  as  an  authority  on  carbon 
arc  light  sources  for  the  motion 
picture  industry,  has  retired  after  42 
years  of  service  with  National  Carbon 
Co.,  division  of  Union  Carbide  Corp. 

Mr.  Handley  had  been  special  rep- 
resentative for  National  Carbon  in 
Los  Angeles  for  a  number  of  years. 
In  addition  to  his  work  with  motion 
picture  theatre  owners  and  managers 
on  the  use  of  carbon  arcs  for  projec- 
tion, Mr.  Handley  devoted  a  great 
deal  of  time  to  motion  picture  studio 
lighting,  and  was  the  author  of  sev- 
eral technical  papers  on  the  subject. 

He  was  active  in  the  American 
Society  of  Cinematography,  and  was 
recently  designated  a  Life  Fellow  in 
the   Society   of   Motion   Picture   and 

iP 


Television    Engineers 


Jamestown  Local 
Celebrates  Its 
50th  Anniversary 

JAMESTOWN,  N.  Y.— Local  266 
of  the  IATSE  is  celebrating  its  50th 
anniversary  as  a  member  of  the  mo- 
tion picture  projectionists  union  in 
conjunction  with  the  New  York  State 
Association  of  Motion  Picture  Pro- 
jectionists spring  meeting. 

Tentatively,  the  program  will  be- 
gin with  registration  at  the  Hotel 
Jamestown  at  10  a.m.  Monday,  May 
20.  Following  luncheon,  an  educa- 
tional meeting  will  be  held  at  2  p.m., 
with  the  ladies'  auxiliary  planning  a 
fine  tour.  A  cocktail  hour  will  pre- 
cede the  banquet  in  the  hotel's  Cry- 
tal  Ballroom  at  6:30  p.m.,  and  there 
will  be  entertainment  during  and 
after  the  banquet. 

R.  Monaco,  business  agent  of  Local 
337,  Utica,  N.  Y.  emphasizes  that 
the  ladies'  tour  will  be  through  the 
Union-National  Furniture  Co.,  one  of 
the  top  high-grade  furniture  plants  in 
the  country.  They  specialize  in  Italian 
and  French  Provencial  Furniture. 
Here  the  group  may  see  the  machin- 
ing and  the  assembling  of  these  fine 
products  up  to  their  completion. 

Those  driving  to  Jamestown  will 
be  in  for  a  spring  treat,  Mr.  Monaco 
points  out.  Take  New  York  State 
throughway  to  Westfield.  (For  scenic 
Route)  Take  Route  17  or  17J.  Either 
route  goes  on  one  side  of  Beautiful 
Chautauqua  Lake.  Route  17J  passes 
Chautauqua  Institution,  and  those  ar- 
riving on  Sunday  may  go  through  the 
gates  without  charge  and  drive 
around  the  grounds,  as  the  season 
is  not  yet  open.  iP 

Ballantyne  to   Distribute 
Norelco   FP-20   Projector 

NEW  YORK  —  North  American 
Philips  Co.  Inc..  and  Ballantyne 
Instruments  &  Electronics  Inc.,  elec- 
tronics division  of  ABC  Vending 
Corp.,  have  signed  an  agreement 
whereby  Ballantyne  will  become  the 
distributor  for  the  Norelco  Model 
FP-20  35mm  projector,  and  Ballan- 
tyne in  their  factory  at  Omaha,  Neb., 
will  make  components  for  the  Norelco 
35mm  projector,  under  the  specifica- 
tions of  Norelco. 

The  agreement  was  announced 
jointly  by  Neils  Tuxen,  general  man- 
ager of  the  motion  picture  equipment 
division  of  North  American  Philips, 
and  bv  J.  Robert  Hoff,  executive  vice 
president  of  the  Ballantyne  Co. 

The  agreement  calls  for  the  pur- 
chase by  Ballantyne  of  a  number  of 
Norelco  35mm  projectors,  and  Norel- 
co   will    purchase    from    Ballantyne 


International  Projectionist        March  1963 


® 


assemblies  and  sub-assemblies  for  its 
projector  line. 

Ballantyne  will  sell  the  FP-20  pro- 
jectors to  indoor  theatres  and  the 
FP-20  projectors  will  be  adapted  to 
high  intensity  arc  lamps  for  use  in 
drive-in  theatres. 

The  Norelco  FP-20  has  many  ad- 
vanced features,  among  which  are 
claimed  the  smallest  number  of  parts 
in  the  film  path,  simple  driving  mec- 
hanisms, curved  and  water-cooled 
film  gate.  iP 

Technical    Equipment 
Set   For  SMPTE 
Convention 

NEW  YORK  —  Displays  of  new 
film  and  laboratory  equipment  will  be 
an  important  feature  of  the  93rd 
Convention  of  the  Society  of  Motion 
Picture  and  Television  Engineers,  to 
be  held  April  22-25,  at  the  Traymore 
Hotel,  Atlantic  City,  N.  J. 

According  to  SMPTE  Exhibit  Com- 
mittee Chairman,  Dennis  Kealey,  of 
Reevesound,  Inc..  L.  I.  City,  N.  Y., 
the  exhibition  area  will  be  comprised 
of  40  booths.  Manufacturers  will 
show:  motion  picture  and  television 
devices;  film  laboratory  test,  con- 
trol and  processing  tools;  instru- 
ments for  time  lapse  and  high  and 
ultra-high  frequency  photography ; 
means  of  making  and  using  8mm 
small  format  motion  pictures;  ap- 
paratus used  in  special  motion  picture 
and  television  technology,  data  re- 
cording and  data  reduction;  color 
and  black-and-white  television  cam- 
eras and  television  tape  and  film  re- 
cording equipment. 

Comprehensive 
Canon  Camera  Co. 
Corp.    of  America, 
Ltd.    (Canada),   Camera 


Service  Corp., 
Japan ) .  Arriflex 
Houston-Schmidt 
Mart,   Inc., 


Hi-Speed  Equipment,  Inc..  Lipsner- 
Smith  Corp..  S.O.S.  Photo-Cine- 
Optics.  Inc.  and  Motion  Picture 
Enterprises,  Inc.,  are  among  the 
manufacturers  who  have  already  an- 
nounced that  they  will  show  their 
equipment  at  the  convention.  iP 

MONTHLY  CHAT 

{Continued  from  Page  3) 

Tip  To   Help   Will 
Rogers   Hospital 

I.A.T.S.E.  locals  around  the  coun- 
try collect  scrap  carbons  with  the 
copper  salvaged  and  the  money  do- 
nated to  the  Will  Rogers  Memorial 
Hospital. 

If  the  projectionist  would  strip  the 
carbons,  the  salvage  operation  would 
be  more  efficient.  Also,  it  would  help 
the  collectors — who  volunteer  their 
time  picking  the  '"scrap-n-drippings" 
from  theatre  projection  booths.       iP 

International  Projectionist        March  1963 


BalCOLD 

REFLECTORS 
CUT  HEAT 
IN  HALF 


Read  this  Hollywood  test  report.  "Film  gate  heat  at  1.85  aperture, 
is  280°  F.  with  silvered  reflectors,  but  only  140°  F.  with  BalCOLD." 
And  look  at  the  benefits  when  BalCOLD  Reflectors  cut  heat  in  half: 

NO  FOCUS  DRIFT.  As  much  as  5400  feet  of  film  have  been  run 
without  refocus.  Cooler  film  gate  cuts  down  film  bulge — keeps  con- 
stant focus. 

GREATER  DEPTH  OF  FIELD.  Less  film  bulge  means  better  back- 
ground resolution,  color  fidelity,  and  clearness  of  detail. 

NO  END-OF-REEL  CONTRACTION.  Lens  and  projector  parts 
can't  cool  off  and  contract  (thus  changing  focus)  because  BalCOLD 
Reflectors  don't  let  them  get  hot  enough  to  expand! 

NO  EMULSION  PILE-UP.  Green  film  never  gets  hot  enough  to 
leave  emulsion  coatings  on  film  tracks  and  shoes. 

LONGER  REFLECTOR  LIFE.  Theatres  all  over  the  country  report 
up  to  17  months  and  more  constant,  top-quality  performance. 

LONGER  FILM  LIFE.  Theatres  report  film  life  doubled  with 
BalCOLD  Reflectors.  Means  a  lot  when  prints  cost  up  to  $10,000  ea. 
Next  time  you  replace  silvered  reflectors,  replace  them  with 
BalCOLD — the  only  reflector  whose  proven  contribution  to  the 
advancement  of  motion  picture  projection  has  won  for  its  designers 
the  highly  regarded  technical  award  from  the  Academy  of  Motion 
Picture  Arts  and  Sciences. 


BAUSCH  &  LOME  ^ 


BAUSCH   &    LOME 
61639    Bousd.    Sr., 


INCORPORATED 
Rochester   2,    N.  Y. 


□  Send  me  BalCOLD  Data  Brochure  E-35. 


Name  . 


Theatre 


Address 


City 


Zone State 


Century  Has  New  Power  Amplifier 


Century  Projector  Corp.  announces 
new  and  exclusive  additions  to  their 
line  of  all-transistor  50  watt  power 
amplifiers,  which  now  have  built-in 
insurance  against  failures  from  exces- 
sive overloads  or  other  abnormal 
operations. 

Also  engineered  into  these  50  watt 
amplifiers  are  four  special  indicator 
lamps  (shown  in  the  illustrations) 
for  observation  of  any  overload,  low 
impedance  or  short  circuit  conditions 
in  the  output  circuit. 

The  red  indicator  lamps  light  up 
when  an  overload  (volume)  or  some 
other  abnormal  condition  develops  or 
exists.  This  visual  observation  warns 
the  projectionist  or  service  engineer 


of  any  abnormal  condition  which  may 
be  present.  The  lamps  will  automati- 
cally go  off  when  the  difficulties  have 
been  cleared. 

If  during  a  performance  someone 
or  something  introduces  a  short  cir- 
cuit into  the  speaker  system  or  the 
power  amplifier  output,  the  indicator 
lamps  will  light  up.  The  lamps  will 
go  off  when  the  abnormalities  are 
removed. 

The  Century  50  watt  all-transistor 
power  amplifier  with  indicator  lamps 
plus  plug-in  provisions  ( another 
Century  exclusive)  has  been  coded 
W6-13. 


%    % 


/"""** 


NEW  POWER  AMPLIFIER— The  new  Century  Projector  Corp.  50  watt 
power  amplifier  is  shown  here,  featuring  indicator  lamps  to  instantly  pinpoint 
system  malfunctions.  One  view  of  the  equipment  shows  the  open  top  of  the 
amplifier,  the  other  indicator  lamp  viewing  ports  and  plug-in  provision,  described 
in  the  article. 

Davee  Says  Theatres  Can 
Own  a  Toll-TV  System 


NEW  YORK— Larry  Davee,  presi- 
dent of  Theatre  Equipment  &  Supply 
Manufacturers  Assn.,  said  that 
TESMA  has  a  patented  Pay-TV 
system  and  it  will  be  available  to  any 
theatre  or  group  of  theatres  interested 
in  research  and  development  of  the 
patent. 

According  to  the  patent,  Davee 
stated,  the  system  ties  in  with  the 
existing  community  antenna — systems 
in  areas  where  signals  from  a  regular 
broadcasting  TV  station  cannot  be 
received  in  homes  in  the  area — with 
an  unused  TV  channel  in  the  area. 

Davee  said  that  the  equipment  can 
be  manufactured  for  sale  to  theatres 
at  a  "very  reasonable"  cost,  followed 
by  amortization  of  research  and 
development  costs. 

If  a  theatre  or  theatres  were  in  the 
area  of  existing  CATV  system,  the 
theatre  owner  could  have  home  sub- 
scribers for  his  first  run  pictures,  if 
he  were  to  set  up  a  pay-TV  station. 

Thus,   a    first    run   theatre   in    any 

10 


area  could  widen  its  audience  and 
be  paid  for  it  to  the  extent  of  the 
number  of  homes  that  are  subscribers 
to  the  local  community  antenna 
system. 

It  is  estimated  that  there  are  now 
licensed  by  the  FCC  as  many  as  3,000 
CATV  systems,  each  having  hundreds 
and  some  case  thousands  of  homes  in 
the   area   subscribing  to   the   system. 

The  CATV  System 

For  the  benefit  of  projectionists 
who  are  not  familiar  with  it,  a  Com- 
munity Antenna  Television  system 
exists  in  areas  where  signals  from  a 
regular  broadcasting  television  station 
cannot  be  received  in  the  home  with- 
out a  re-broadcast  over  wires  of  a 
CATV  system.  The  CATV  antenna,  a 
high  tower  or  in  many  cases  perched 
atop  a  mountain,  picks  up  the  regular 
broadcast  from  the  originating  sta- 
tion, amplifies  it  and  sends  it  by 
wire  into  subscribing  homes,  which 
pay  for  the  service  usually  on  a 
monthly   basis.    In   some   areas  there 


are  as  many  as  seven  channels  avail- 
able to  subscribing  homes. 

In  areas  where  this  kind  of  system 
exists,  theatres  may  now  or  in  the 
near  future  make  a  deal  with  the 
CATV  system,  whereby  the  theatre 
pick-up  system  will  be  enabled  to 
channel  exactly  what  is  on  its  screen, 
over  the  wires  and  into  subscribing 
homes  for  a  fee. 

A  Theatre  Opportunity 

There  are  many  systems  (electroni- 
cally )  that  will  enable  the  theatre  and 
its  CATV  cooperating  system  to  col- 
lect their  money  from  subscribing 
families.  These  charges  would  be  in 
addition  to  regular  monthly  service 
fees  under  which  the  CATV  system 
normally  makes  its  money. 

"It  can  be  seen  upon  examination  of 
the  patent  that  there  is  no  other  way 
in  existence,  and  none  in  the  foresee- 
able future,  under  which  theatres  can 
supply  television  into  homes,  without 
the  expenditure  of  enormous  sums  of 
money,  except  under  the  new  patent. 
Under  the  projected,  patented  sys- 
tem now  in  the  hands  of  TESMA  for 
disposition,  theatres  are  in  a  position 
to  compete  economically,  and  with 
considerable  profit  to  themselves, 
with  any  Pay  TV  system  now  on  the 
market,"  Mr.  Davee  says.  iP 

Eugene   Levy   Head   of 
Camera    Equipment   Co. 

NEW  YORK— Directors  of  CECO 
Industries,  Inc.  have  elected  Eugene 
H.  Levy  president  of  Camera  Equip- 
ment Company,  Inc.,  major  operat- 
ing subsidiary,  it  was  announced  by 
Robert  B.  Bregman,  board  chairman. 

The  company  is  the  world's  larg- 
est rental  and  sales  service  organiza- 
tion serving  the  motion  picture  and 
television  industry  with  professional 
equipment  used  for  theatrical  and  TV 
production.  It  maintains  facilities  at 
Hialeah.  Fla..  Hollywood.  Cal.,  New 
York  City  and  Syosset,  N.  Y. 

Mr.  Levy  succeeds  Frank  C.  Zuck- 
er,  who  retires  to  become  president  of 
Local  644,  International  Photograph- 
ers of  the  Motion  Picture  Industry. 

The  new  Camera  Equipment  presi- 
dent has  been  associated  with  the  firm 
since  its  founding  in  1936.  Prior  to 
assuming  his  new  post,  he  was  vice 
president  for  sales  and  national  direc- 
tor of  advertising  and  promotion. 

Mr.  Levy  is  a  member  of  Local 
644,  International  Photographers  of 
the  Motion  Picture  Industry,  and  The 
Pioneers  of  the  Motion  Picture  In- 
dustry. 

He  also  holds  membership  in  the 
Society  of  Motion  Picture  and  TV 
Engineers,  the  National  Audio  Visual 
Assn.  and  the  Industrial  Film  Pro- 
ducers Assn.  iP 


International  Projectionist        March  1963 


LAMPS  AND  POWER 


from  Page  6 


different  way.  Most  reflector  lamps  of  this  type  have 
an  automatic  optical  crater-positioning  device  which 
insures  that  the  positive  crater  remains  in  the  focus  of 
the  mirror  at  all  times.  If  the  current  supplied  to  the 
trim  is  too  low,  the  arc  gap  becomes  gradually  shorter 
than  normal;  if  the  current  is  too  high,  the  gap  lengthens. 
Some  lamps  have  independent  negative-feed  controls: 
others  have  positive-negative  feed  rate  selectors  for  a 
number  of  different  trims   and  currents. 

The  optimum  length  of  arc  gap  (the  distance  be- 
tween the  tips  of  the  two  carbons)  is  about  %  inch  for 
arc  currents  between  40  and  50  amps.,  %  inch  for 
currents  between  60  and  120  amps.,  and  %  inch  for 
currents  between  130  and  180  amps.  A  variation  in 
gap  length  not  exceeding  1/16  of  an  inch  does  not 
appear  to  be  important.  However,  the  use  of  an  ex- 
cessively long  arc  gap  may  allow  the  arc  to  waver, 
causing  the  screen  illumination  to  flicker  in  an  an- 
noying manner. 

To  sum  up:  If  your  arcs  burn  in  an  unstable  man- 
ner, with  erratic  feeding  of  the  carbons,  check  the 
electrical  system  before  blaming  the  lamps  or  the  car- 
bons for  the  difficulty.  A  cracked  carbon  will  certainly 
give  trouble,  but  damaged  carbons  can  usually  be  dis- 
covered by  inspection.  Water  does  no  permanent  damage 
to  carbons,  but  they  must  be  thoroughly  dry  when 
burned.  It  is  a  good  idea  to  keep  a  few  dozen  carbons 


under  the  lamphouse  or  in  some  other  warm  place  to 
insure  a  supply   of  dry  carbons. 
Check  the  System   Methodically! 

How  to  go  about  checking  the  electrical  system? 
A  measurement  of  arc  amperage  and  voltage  comes 
first.  Arc  voltage  drop  is  measured  with  a  DC  voltmeter 
across  the  lamp  lead  wires  or  table  switch  when  the 
arc  is  burning  normally.  This  voltage  is  less  than 
generator  output  voltage  (as  indicated  by  the  voltmeter 
in  the  control  cabinet ) .  and  should  be  15  volts  less  for 
the  smaller  lamps  and  about  25  volts  less  for  the  larger 
ones.  This  voltage  difference  happens  to  be  the  ballast- 
rheostat  voltage  drop  spoken   of  earlier. 

An  ammeter  is  ordinarily  present  in  the  system, 
either  in  the  generator  control  cabinet  or  in  the  lamp- 
house,  itself.  An  ammeter  is  absolutely  essential  for 
keeping  the  projectionist  informed  as  to  the  current 
being  drawn  by  his  arcs. 

All  connections  everywhere  in  each  arc  circuit  are 
then  checked  for  evidence  of  corrosion,  looseness,  un- 
due heating,  etc.,  special  attention  being  given  to  the 
wires  and  terminals  exposed  to  the  heat  of  the  arc 
in  each  lamphouse.  Perfect  performance  of  the  arcs 
is  not  guaranteed  by  a  perfect  electrical  system,  of 
course, — the  lamp  and  carbon  control  and  feed  mech- 
anism may  be  worn,  out  of  adjustment,  clogged  by 
dust,  incrusted  with  grime,  or  improperly  lubricated. 
But  no  matter  what  the  age  or  physical  condition  of  the 
lamps  may  be,  satisfactory  burning  of  the  arcs  is  man- 
ifestly impossible  unless  the  electrical  factors  to  which 
the  carbon  arc  is  extremely  sensitive  are  all  in  A-l  order. 

iP 


There  is  a  FIRST  BEST  in  Anything! 

In  ARC  LAMPS 

IT   IQ   TUP    ADTlfikllY  IMTEAPATEn 

I  1       I**       1  lib      %f¥^  I  l%MlHk  1        1  lH  1  Ea^^l%#%l  cy 


C  S.  ASHCRAFT'S 


^^^^■■HB^m^HmnBEI^^HHHBV   (Paten 


(Patent  Pending) 


Trademark  registered  and  copyrighted.  Patent  applied  lor. 
The  C.  S.  Ashcraft  Mfg.  Co.,  Inc. 
36-32  Thirty  Eighth  Street,  Long  Island  City,  N.  Y. 


It  does  unheard  of  things  in  screen  lighting.  Such  as  ...  up  to 
100%  increase  in  screen  side-lighting. 

It  works  on  any  current  from  78  to  115  amperes.  It  does  it 
on  a  single  size  positive  carbon,  11mm  in  diameter. 

It  will  exceed  accepted  industry  standards  in  lighting  an  out- 
door screen  52  feet  wide.  It  is  the  answer  to  the  ill-lighted 
Drive-ln  screen  up  to  95  feet  in  width. 

It  is  a  miserly  brute  in  its  operating  expenses.  Saves  you  up 
to  50%  in  carbon  costs. 

Want  proof?  Call  your  National  Theatre  Supply  Co.  man.  He 
will  prove  the  CORE-LITE  worth  in  indoor  or  drive-in  theatres 
with  existing  screens  and  lenses. 


International  Projectionist        March  1963 


11 


Letters  to  the  Editor 


Editor,  IP 

Dear  Sir: 

While  making  magnetic  sound  in- 
stallations for  various  theaters  in  the 
past  few  years  I  have  become  aware 
of  the  great  amount  of  confusion 
among  exhibitors,  distributors,  and 
the  public  in  general  about  current 
motion  picture  sound.  For  instance; 
one  exhibitor  of  my  acquaintance,  on 
the  strength  of  three  mag-optical 
prints  in  a  row  culminating  in  the  35 
mm.  release  of  "Ben-Hur,"  invested 
several  thousand  dollars  in  stereo- 
phonic equipment  in  1960.  In  1961 
he  was  not  able  to  get  a  single  mag- 
netic print  and  has  had  only  one  in 
1962.  In  this  respect  the  exhibitor  is 
at  the  mercy  of  the  distributor  who  is 
often  equally  uncertain  as  to  which 
pictures  are  available  in  stereo. 

Here  are  some  questions  I  have 
which  might  serve  as  a  guide  to  a 
future  article  on  soundtracks  in  your 
magazine. 

1.  Is  magnetic  stereo  sound  being 
soft  pedaled  or  phased  out  by  the 
major  producers  or  is  there  still  a 
general  enthusiasm  for  this  type  of 
sound? 

2.  Where  can  one  obtain  a  listing 
of  the  type  of  sound  that  is  avail- 
able on  current  and  future  releases? 
In  this  regard  the  various  trade  pub- 
lications   such    as    Greater    Amuse- 


ments, Variety,  Box-Office,  Exhibitor, 
and  even  the  press  books  and  adver- 
tising copy  carry  no  mention  of  stereo 
sound  when  such  is  available. 

3.  How  is  six-track  sound  re-mixed 
to  four-track  and  single  track  sound 
for  the  35  mm.  version? 

4.  How  much  actual  stereo  is  con- 
tained in  current  release  tracks,  that 
is,  is  only  music  recorded  using  three 
channels  with  dialogue  and  effects 
recorded  mono  and  then  shifted  to 
follow  the  action  during  re-record- 
ing? 

5.  Are  there  any  general  rules  that 
producers  use  in  determining  what 
material  to  put  on  the  fourth  or 
effects  track? 

Sincerely, 
William  E.  Lobb 
*  *  * 

The  views  of  this  writer  anent  the 
present-day  neglect  of  magnetic 
stereophonic  sound  for  CinemaScope 
motion  pictures  closely  parallel  those 
implied  by  Mr.  Lobb.  In  an  article 
published  in  the  February  1962  issue 
of  INTERNATIONAL'  PROJEC- 
TIONIST I  wrote:  "In  view  of  the 
demand  for  stereophonic  sound,  we 
cannot  refrain  from  wondering  why 
the  great  majority  of  movie  producers 
have  so  neglected  the  CinemaScope 
magnetic  sound  process.  The  mag- 
netic reproducers  in  thousands  of 
theatres  remain  idle  most  of  the  time. 


ALLEN  SMITH  HONORED— Allen  G.  Smith  of  National  Theatre  Supply 
Co.,  recently  featured  in  an  IP  profile,  is  shown  above  receiving  a  presentation 
from  W.  J.  Turnbull,  left,  president  of  National  Theatre  Supply  Co.  On  the 
right,  Arthur  Baldwin,  vice  president  in  charge  of  export  and  New  York  op- 
erations,  looks  on. 

12 


and  in  their  failure  to  utilize  fully  a 
stereosound  system  already  at  their 
disposal,  all  too  many  movie  moguls 
are  guilty  of  the  shortsightedness  for 
which  Hollywood  is  notorious." 

To  reply  specifically  to  Mr.  Lobb's 
first  question,  we  can  say  that  the 
neglect  of  stereosound  by  the  major 
producers  is  deliberate.  The  movie- 
going  public  is  far  more  enthusiastic 
about  stereophonic  sound  for  pano- 
ramic pictures  than  the  producers, 
themselves,  appear  to  be.  Hollywood 
film  producers  have  a  well-known 
tendency  to  consider  immediate  costs 
rather  than  the  quality  of  their 
product  or  long-range  results  in  the 
theatre. 

It  might  be  assumed  that  the  great 
popularity  of  stereosound  in  the 
home  through  the  media  of  binaural 
phonograph  records,  multitrack 
sound  tapes,  and  dual-channel  FM 
radio  broadcasts  would  stimulate  the 
use  of  magnetic  4-track  prints  for 
stereosound  in  the  theatre.  As  things 
actually  turned  out,  producers  began 
to  neglect  movie  stereosound  from  the 
very  moment  that  multichannel  repro- 
duction of  music  in  the  home  soared 
to  the  zenith  of  popularity. 

CinemaScope  stereosound  admit- 
tedly suffered  from  technical  inepti- 
tudes which  proved  distracting  to 
audiences,  but  some  of  the  early 
attempts  in  this  sound  medium  were 
pleasing  and  effective.  We  know  that 
optical-track  recording  is  more  ser- 
viceable than  magnetic  for  monaural 
motion-picture  sound,  but  the  4-track 
magnetic  process  is  more  convenient 
than  multitrack  optical  for  stereo- 
phonic reproduction,  and  the  extra 
cost  of  magnetically  striped  prints  is 
not  excessive.  Nevertheless,  the  pro- 
ducers seem  unable  to  look  beyond 
the  added  costs  to  the  realism  of  the 
results  and  the  benefits  of  patron 
satisfaction.  Stereophonic  sound  may 
contribute  little  or  nothing  to  stan- 
dard non-anamorphic  projection,  but 
it  is  a  definite  advantage  to  specta- 
cular CinemaScope  pictures  in  natural 
color. 

Question  2:  There  are  not  at  pre- 
sent any  complete  listings  of  the  type 
of  sound  available  on  current  and 
future  releases.  This  lack  is  just 
another  example  of  the  narrow- 
visioned.  dead-head  policies  of  an 
industry  which  goes  on  and  on  court- 
ing financial  disaster  through  a  deli- 
berate process  of  business  stagnation. 
Exhibitors'  trade  publications  should 
be  pressured  into  obtaining  and  pub- 
lishing this  vital  information,  inas- 
much as  the  thousands  of  theatre 
owners  who  have  gone  to  the  expense 
of  installing  stereosound  equipment 
have  an  indisputable  right  to  know  of 

International  Projectionist        March  1963 


Investment  Opportunity 


You  are  looking  at  a  part  of  your  employee  benefit  pro- 
gram. It's  part  of  your  neighbors',  too.  And  your  suppliers' 
and  your  customers'  and  your  competitors'.  It  is  there  for 
all  Americans  to  enjoy. 

A  healthy  economy  is  a  bulwark  of  the  freedom  it  sym- 
bolizes— and  of  our  freedom  to  enjoy  it. 

American  businessmen  like  you  can  protect  the  invest- 
ment you  have  in  this  benefit  program  by  promoting  the 
Treasury's  Payroll  Savings  Plan  for  U.S.  Savings  Bonds. 
It  makes  for  a  strong  America  and  a  sound  America.  And 
it  engenders  a  sense  of  thrift  and  independence  and  con- 
servation that  helps  us  all  to  fathom  the  real  significance 


of  monuments  like  that  set  in  the  beautiful  Black  Hills. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll — you 
are  investing  in  the  most  precious  of  America's  natural 
resources.  In  the  vastnesses  of  its  mountains  and  plains 
and  coasts  that  offer  physical  and  spiritual  recreation  to  us 
and  our  children.  You  are  investing  in  the  heritage  and  the 
future  of  America.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  to  the 
Treasury  Department,  U.S.  Savings  Bonds  Division, 
Washington  25,  D.C. 


in  your  plant... promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS      §§||)|) 


°«c  s[(^ 


The  U.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism.  The  Advertising  Council  and  this  magazine. 

INTERNATIONAL  PROJECTIONIST 

International  Projectionist        March  1963 


13 


the  availability  of  all  stereophonic 
releases — what  few  there  are. 

Question  3 :  Although  not  the  usual 
procedure,  a  6-track  stereophonic  re- 
cording can  be  converted  to  a  4-track 
CinemaScope  recording  by  omitting 
tracks  2  and  4  (left  center  and  right 
center  channels )  and  transferring  the 
remaining  four  tracks  to  the  four 
CinemaScope  tracks.  By  taking 
special  pains  to  insure  accurate  phas- 
ing, however,  tracks  1  and  2  and 
tracks  4  and  5  of  the  6-track  record- 
ing can  be  electrically  combined  for 
tracks  1  and  3  (left  and  right  chan- 
nels )  of  the  CinemaScope  recording, 
none  of  the  six  tracks  then  being 
omitted. 

A  4-track  CinemaScope  recording 
can  be  converted  to  a  single  monaural 
track  by  electrical  combination  of  all 
signals,  the  fourth  "surround"  sound- 
effects  track  usually  being  omitted.  A 
more  common  method  is  to  utilize 
track  2  (center  channel)  alone  for 
the  monaural  transcription.  This  is 
made  possible  by  the  admixture  of 
some  sound  from  the  left  and  right 
channels  ( tracks  1  and  3 )  in  the 
center-channel  track.  (The  intro- 
duction of  side-channel  signals  into 
the  center-channel  track  has  been 
criticized  because  it  decreases  the 
sound-separation,  or  directional,  ef- 
fect.) 

Question  4:  Most  movie  stereo- 
phonic sound  is  recorded  monaurally 
in  a  single  channel  and  afterward 
"pan-potted"  by  a  sound-following 
technique  to  obtain  the  effect  of  direc- 
tional sound  in  the  four  Cinema- 
Scope channels.  In  this  case,  the 
monaural  optical-track  version  is 
transferred  directly  from  the  magnetic 
single-track  original  recording. 

About  the  only  actual  stereophonic 
recording  made  with  a  multiple- 
microphone  setup  in  CinemaScope 
pictures  involves  musical  sequences 
in  which  an  entire  orchestra  is  photo- 
graphed. Because  a  multiple-mike 
setup  is  acoustically  "tricky"  and 
rather  time-consuming  for  the  studio 
sound  technicians,  the  pan-pot  method 
of  faking  stereosound  from  a  single- 
track  original  recording  is  nearly  al- 
ways used  for  action-and-dialogue 
scenes.  The  pan-pot  method  saves 
time  and  money  and  simplifies  the 
"sound-mixing"  operation  wherein 
the  original  records  are  combined 
with  effects  and  background  music. 

In  general,  the  pan-pot  method 
gives  a  stereophonic  effect  which  is  as 
good,  and  sometimes  better,  than  is 
obtainable  by  multiple-channel  origi- 
nal recording.  Trouble  in  encountered 
in  scenes  where  players  located  at  op- 
posite sides  of  the  screen  speak  simul- 
taneously, but  even  these  difficult  sit- 
uations can  often  be  faked  reasonably 

14 


well  by  use  of  the  center  channel. 
When  perfection  is  mandatory,  how- 
ever, complex  scenes  of  this  nature 
must  be  set  up  for  multiple-channel 
recording  on  the  set. 

Question  5:  The  general  rules  gov- 
erning material  to  be  put  on  the 
"surround,"  or  "effects,"  track  reside 
mainly  in  the  artistic  intuition  of  the 
director  and  sound  recordist.  Natur- 
ally, all  sounds  which  should  emanate 
off  screen  are  placed  on  this  track — 
the  sound  of  an  unseen  orchestra,  of 
a  roiling  sea,  of  a  distant  locomotive 
whistle,  or  the  voices  of  off-screen 
actors.  A  novel  use  for  the  fourth 
track  involves  what  may  be  termed 
"psychological  audio,"  that  is  to  say, 
voices  and  other  sounds  heard  only 
in  the  mind  of  a  character  in  the 
story. 

The  use  of  the  fourth  track  is  there- 
fore largely  a  matter  of  artistic  crea- 
tivity which  strives  to  produce  dram- 
atic effects  in  the  photoplay  and  an 
emotional  response  in  the  audience 
through  the  medium  of  sound  which 
comes  from  speakers  located  at  a 
distance  from  the  screen. 

—Robert  Allen  Mitchell 
iP 

Trans-Lux  To  Open 
New  Theatre   in  April 

A  new  theatre,  "The  Trans-Lux 
East,"  located  at  58th  St.  and  Third 
Ave.,  will  open  during  the  first  part 
of  April,  it  is  announced  by  Thomas 
Rodgers,  vice  president  of  Trans-Lux 
Corp.    Said  to  be  the  finest  theatre 


ever  to  be  constructed  in  Manhattan. 
The  architect,  planned  a  "theatre  with 
a  personality,"  and  the  results  are 
both  striking  and  dramatic.  Total 
investment  for  the  600-seat  house,  will 
be  in  excess  of  $500,000. 

An  unusual  feature  of  the  theatre 
will  be  a  viewing  window  in  which 
the  heart  of  the  theatre,  the  sound 
and  projection  equipment,  may  be 
seen  by  the  public. 

The  Trans-Lux  East  is  the  first 
theatre  ever  to  be  constructed  as  part 
of  an  office  and  apartment  building. 

iP 

Eastman   Kodak  Sales 
Top   Billion   Mark 

ROCHESTER,  N.  Y.— William  S. 
Vaughan,  president  of  Eastman  Ko- 
dak Co.,  has  announced  that  company 
sales  and  earnings  topped  the  billion- 
dollar  figure  for  the  first  time  in  its 
history  last  year. 

In  a  report  also  signed  by  Albeit 
K.  Chapman,  board  chairman,  Kodak 
disclosed  that  sales  of  $1,056,072,473 
were  7%  higher  than  the  $989,171.- 
969  reported  for  the  previous  year. 

Net  earnings  were  $140,342,438,  or 
almost  8%  above  the  1961  total  of 
$130,203,447  for  1961.  The  total  was 
figured  at  $3.64  per  share  as  com- 
pared to  $3.38  per  share  in  1961. 

The  report  also  disclosed  a  favor- 
able cash  position  with  working  capi- 
tal available  totaling  $412,000,000. 
up  $25,000,000  in  the  last  year.  In- 
ventories were  $18,700,000  higher 
than  at  the  close  of  1961.  iP 


POLY  GROOVE   PULLEY 


PROJECTOR   MAIN   DRIVE   SHAFT- 


POLY     V     MOTOR  DRIVE    BELT 

STABILIZER   SHAFT 
(FLYWHEEL   OMITTED) 


MOTOR 


MOTOR  MOUNTING  BRACKET- 


LOWER  MAGAZINE 


PROJECTOR  DRIVEN  GEAR 
(VERTICAL  SHAFT) 


RECT   DRIVE  FLEXIBLE 
COUPLING 

DIRECT  DRIVE  SHAFT, 
BALL  BEARINGS  AND 
BRACKETS 


SOUND   SPROCKET   SHAFT 


TAKE    UP   BELT 
ADJUSTING   ARM 


TAKE  UP  BELT 


PROJECTOR    MECHANISM '  SOUND    REPRODUCER 
DIRECT-DRIVE 

DIRECT  DRIVE  projector  mechanisms  and  sound  reproducers  have  been 
made  available  by  Century  Projector  Corp.  Detailed  in  this  illustration,  the 
mechanisms  were  described  fully  in  the  February  issue  of  IP.  The  new  Century 
drive  is  said  to  be  easily  adapted  for  interlock  or  synchronous  operation.  A 
timing  belt  drive  between  motor  and  reproducer  is  no  longer  necessary,  it  is  said. 

INTERNATIONAL    PROJECTIONIST  MARCH    1963 


CINERAMA  DOME  THEATRE  revealed  by  Nicolas 
Reisini,  Cinerama,  Inc.  president.  This  radically-new  movie 
theatre  is  based  upon  the  "geodesic  dome"  concept. 


Revolutionary  New 
Theatre  Idea  Revealed 


A  radically-new  design  for  motion 
picture  theatres  has  been  disclosed  to 
a  special  meeting  of  more  than  100 
leading  movie  exhibitors  by  Nicolas 
Reisini,  president  of  Cinerama,  Inc. 
The  new  Cinerama  theatre  is  based 
upon  the  "Geodesic  Dome"  principle 
developed  by  R.  Buckminster  Fuller. 

A  model-and-plans  of  a  typical  Cin- 
erama Dome  Theatre  of  1,000  seats, 
to  be  constructed  of  precast  concrete, 
was  displayed  by  Mr.  Reisini,  who 
stated  that  the  new  Cinerama  theatre 
will  cost  approximately  $250,000, 
said  to  be  one-half  as  much  as  a 
conventional  motion  picture  theatre 
of  comparable  size,  and  it  will  take 
half  as  long  to  construct. 

Cinerama  is  making  its  patented 
designs  and  blueprints  available  to 
selected  exhibitors  desiring  to  build 
these  unique  Cinerama  showcases  in 
the  U.  S.  and  Canada. 

The  revolutionary  new  motion  pic- 
ture theatre  presents  a  new  approach 
to  geodesic  dome  design  and  the  use 
of  relatively  -  inexpensive  precast  con- 
crete as  a  building  material.  The 
designs  were  produced  by  Geome- 
tries, Inc.,  Cambridge,  Mass.  archi- 
tectural and  engineering  firm,  in 
association  with  Cinerama's  own 
technical  staff.  Also  present  at  the 
meeting  was  John  J.  McNamara. 
prominent  theatre  architect. 

The  model  of  the  Cinerama  Dome 
Theatre     shown     to     the     assembled 


movie  executives  was  of  a  1,000-seat 
theatre  approximately  140  ft.  in  dia- 
meter and  52  ft.  high.  It  is  assembled 
from  some  300  precast  concrete 
panels  fitted  together  to  form  the 
dome  shape. 

Reisini  stated  that  "Cinerama's 
goal  is  to  see  that  at  least  300  of  these 
dome  theatres  are  built  in  the  U.S. 
and  Canada  in  the  next  two  years, 
and  that  an  equal  number  are  con- 
structed abroad.  The  new  and  econ- 
omical geodesic  dome  theatre  will 
also  enable  exhibitors  to  bring  Cin- 
erama to  many  smaller  localities 
which  hithertofore  could  not  afford 
to  sustain  a  large  house." 

He  added,  "We  hope  to  greatly  en- 
large the  family  of  Cinerama  exhibi- 
tors this  way.  The  philosophy  behind 
Cinerama's  thinking  is  that  we  must 
concentrate  not  only  in  producing  the 
best  Cinerama  films  possible,  but 
also  in  seeing  that  these  films  are 
exhibited  in  the  most  appropriate  new 
theatres  throughout  the  world." 

The  dome  is  constructed  by  bolting 
the  panels  together  flange-to-flange. 
Resilient  anchor  plates  are  used  for 
mounting  the  dome  onto  the  founda- 
tion. After  assembly,  the  joints 
between  the  panels  are  packed  with 
an  expoxy  mortar.  This  transfers  the 
loads  between  panels  and  forms  a 
watertight  seal.  After  the  dome  is 
assembled,  an  interior  coat  of  sprayed 


BRIGHTER   LIGHT 
LONGER   BURNING 
SHARPER   PICTURE 
Free  Test  Samples 


n*w* 


F  Wf  ■»  »  1IWVT1  W»  »  f  »  ■  WF» 


asbestos  plaster  is  applied  which  pro- 
vides thermal  insulation,  acoustical 
absorption  and  fireproofing. 

The  fire-resistant  characteristics  of 
concrete  make  it  particularly  advant- 
ageous for  theatre  use. 

The  geodesic  dome  is  the  creation 
of  R.  Buckminster  Fuller,  an  archi- 
tect-engineer, mathematician  and 
philosopher  whose  work  is  based 
upon  an  analysis  of  the  principles  of 
structure  as  found  in  nature.  The 
design  is  based  on  mathematical 
principles  embodying  force  distribu- 
tions similar  to  those  found  in  atoms, 
molecules,  and  crystals.  It  is  consi- 
dered one  of  the  lightest,  strongest 
and  most  economical  of  all  construc- 
tion forms. 

A  geodesic  dome  has  the  structural 
advantage  inherent  in  a  spherical 
shape,  which  presents  an  almost  ideal 
configuration  for  withstanding  wind, 
snow  and  dead  loads.  Applied  loads 
are  transferred  in  an  arc  manner 
(Continued  on  Page  18) 


$2k 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING   DEVICES 

VALLENjnc. 

AKRON  4,  OHIO       ' 


Norelco 

projection 
equipment 

Available   from 

leading  theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion      Picture      Equipment      Division 

100  E.  42nd  St.,  New  York  17,  N.Y. 


WUUHC 


&wfo*t& 


CARBONS  INC.,  BOONTON,  N.  J. 
*■* A-  — ■-  ----- -  ■  jau t * i 


International  Projectionist        March  1963 


STEADIER  LIGHT 
LESS   ATTENTION 
PERFECT  COLOR  BALANCE 
Free  Carbon  Chart 


15 


"Talaria"  Offers  Pay  TV  to  All  Theatres 


NEW  YORK  —  National  General 
Corp..  owner  of  theatre  circuits  on 
the  west  coast  and  the  continental 
divide  (220  theatres),  has  announced 
that  it  is  pushing  ahead  with  plans  to 
form  a  theatre  pay  television  network 
utilizing  General  Electric's  new 
Talaria  light  valve  projector  system. 

Eugene  V.  Klein.  National  Gen- 
eral president,  said  that  by  next  year 
the  company  hoped  to  have  approxi- 
mately 100  of  its  houses  in  a  pay 
television  web  which  would  include 
programming  "52  weeks  of  the  year." 

Although  Talaria  was  developed  by 
General  Electric  and  uses  some  of  the 
patents  included  in  the  Eidophor 
process  to  which  20th  Century-Fox 
has  American  rights,  it  is  understood 
that  GE  carries  it  further,  adding  its 
own  secret  processes.    National  Gen- 


VfcH 


LET'S  TWIST' 


Yes,  That  Easy  to  Use -No  Tools  Needed 


Just  Twist  The  Stub  In  &  Out 

NO  GRINDING— NO  OIRT 


5ft* 


IF   YOU   ARE   NOT   USING   The 

"Little   Miser"   Carbon    Saver 

YOU  are  losing  several  Hundred  Dollars 

Each  Year! 

4  Sizes  9-1 0-11  m.m.  $3.00  Each 
13.6m.m.  $4.50  Each 

ORDER  Now— Start  Saving   Money  $$ 
(We   Suggest  3   In   Bach   Projection  Room) 

LOU     WALTERS 

Sales   &   Service   Co. 
MOTION    PICTURE   EQUIPMENT 

EV   8-1550 

4207  Lawnview  Ave.  Dallas  27,  Texas 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport,  Pa. 


16 


TALARIA— New  General  Electric 
color  projector  which  makes  possible 
the  nation's  first  full-scale  pay  TV 
network  will  be  used  in  movie  theater 
chain  of  National  General  Corp.  Pro- 
jector has  wide  range  of  possible  uses 
outside  the  commercial  entertainment 
field,  including  medical  and  other  in- 
struction, military  briefings,  long-dis- 
tance business  meetings  and  political 
conventions. 

eral  will  handle  the  franchising,  leas- 
ing and  selling  of  Talaria  on  a  nation- 
wide basis  but  servicing  of  the 
equipment  will  be  from  GE  shops 
located  around  the  country. 

Talaria  makes  possible,  the  joint 
announcement  said,  for  the  projection 
of  both  color  and  black  and  white 
television  images  on  the  large-size 
theater  screens.  It  is  National  Gen- 
eral's plan  to  include  in  its  program- 
ming Broadway  shows,  national 
sports  events  and  other  special  fea- 
tures which  it  may  purchase  or  pro- 
duce itself.  Transmission  of  the  pro- 
grams to  theatres  joining  NG's  net- 
work will  be  by  leased  telephone 
wires. 

Klein  said  that  he  believed  that 
admission  prices  can  be  held  "sub- 
stantially lower"  than  those  currently 
charged  for  conventional  film  product 
shown  in  metropolitan  theatres. 

"This  new  network  makes  pay  TV 
a  fact  of  today  rather  than  a  complex 
dream  of  tomorrow,"  Klein  said.  "It 
puts  major  entertainment  events 
where  they  belong  and  can  achieve 
their  greatest  effect  —  in  the  theatre. 

"Our  present  theatre  operations 
show  that  the  American  public  wants 
to  get  out  of  their  homes  to  be  enter- 
tained. The  type  of  entertainment 
now  planned  will  prove  this  beyond  a 
doubt."     Klein     declared. 

The  large-screen  capability  of 
G.  E.'s  new  Talaria  projector  is  ex- 
pected to  have  important  implications 
for  the  entertainment  industry,  as 
well    as    for    education    ( particularly 


medical     education),     military     and 
business  communications. 

Until  perfection  of  the  projector  by 
G.E.'s  Technical  Products  Operation, 
Syracuse.  N.  Y.,  display  of  TV  pic- 
tures on  full  size  (25-by-33-footj 
screens  with  adequate  brightness  was 
limited  to  black  and  white.  Previous- 
ly most  color  systems  were  limited  to 
screens  about  one-fourth  this  size  and 
thus  were  impractical  for  large 
audiences. 

Robert  L.  Casselberry,  general 
manager  of  TPO,  said  the  Talaria 
projector  provides  a  picture  with 
brightness,  contrast  ratio,  geometric 
accuracy  and  color  fidelity  that  com- 
pares very  favorably  with  color  film. 

National  General  has  signed  multi- 
million-dollar contracts  under  which 
General  Electric  will  supply  projec- 
tors and  service. 

The  key  factors  which  make  possi- 
ble the  capabilities  of  this  projector 
are  the  development  of  a  special  con- 
trol fluid,  the  development  of  a  novel 
light  gathering  system  to  utilize  the 
very    high    light    output    of    a    5-kw 


BIG-SCREEN  COLOR  TV— Unique 
color  television  projector  developed  by 
General  Electric  throws  high-quality 
picture  on  theater-size  screen.  National 
General  Corp.,  220-theater  movie  ex- 
hibitor, plans  to  use  the  new  Talaria 
projector  in  a  nationwide  pay  theater 
television  network.  Before  G.  E.  de- 
veloped the  projector,  only  black-and- 
white  TV  projection  was  possible  on 
large  screens.  Color  projection  was 
limited  to  one-fourth  the  size  of  stand- 
ard movie  screens.  Talaria  produces  the 
three  primary  colors  (red,  green  and 
blue)  from  only  two  light  beams  (green 
and  magenta).  Simplified  projection  op- 
tics make  it  possible  to  get  primary 
red  and  blue  from  the  single  magenta 
beam. 


International  Projectionist        March  1963 


xenon  arc  lamp,  and  a  simplification 
of  the  projection  optics  wherein  all 
three  primary  colors  are  projected 
with  onlj  two  output  light  beams. 

This  dual-beam  method  results  in  a 
simpler  and  more  reliable  projector, 
and  substantial!)  simplifies  the  prob- 
lem of  achieving  and  maintaining 
precise  color  registration.  This  is 
particularly  important  for  large- 
screen  projection  where  minute  errors 
would  be  greatl)   magnified. 

The  Talaria  projector  has  a  high- 
power  light  source  and  an  optical 
projection  system  similar  to  that  of  a 
motion  picture  projector.  But  in 
place  of  the  motion  picture  film,  a 
thin  la\ei  of  viscous  fluid  is  used. 
This  control  fluid  was  developed  by 
General  Electric  for  this  particulai 
application  and  is  said  to  have  unique 
electrical,  mechanical,  chemical  and 
optical  properties. 

This  control  layer  is  continuously 
scanned    lt\    an    electron    beam    in   the 


COMPARISON— Diagram  compares 
operation  of  new  General  Electric  Ta- 
laria (light  valve)  projector  with  stand- 
ard film  projector  and  with  TV  sys- 
tem using  cathode  ray  tube.  In  Talaria 
system,  a  layer  of  special  viscous  fluid 
is  continuously  scanned  by  electron 
beam.  Light  from  high-power  source, 
is  controlled  by  layer  which  takes  place 
of  printed  film  in  standard  movie  pro- 
jector. Third  system  at  bottom  projects 
light  directly  from  cathode  ray  tube  and 
is  limited  in  brightness.  The  Talaria 
projector  is  similar  to  a  standard  movie 
projector  in  that  both  use  a  high-power 
light  source  and  a  system  of  lenses  to 
direct  the  light  beam  through  the  film 
and  produce  a  picture  on  the  screen. 
For  practical  purposes,  the  Talaria  light 
valve  projector  works  the  same  way, 
except  that  the  printed  motion  picture 
film  is  replaced  by  a  transparent  thin 
layer  of  viscous  control  fluid.  An  elec- 
tron gun  operating  as  it  does  in  a  TV 
picture  tube  scans  the  surface  of  the 
control  layer.  Instead  of  producing  a 
picture  directly  on  the  layer  as  it  does 
on  the  phosphor  face  of  a  TV  picture 
tube,  the  electron  beam  causes  the  fluid 
layer  to  control  the  light  so  that  the 
picture  is  projected  onto  the  screen. 

International  Projectionist        March  1963 


same  manner  as  the  phosphor  on  the 
face  of  the  picture  tube  in  a  conven- 
tional TV  set.  But  instead  of  produc- 
ing a  picture  directly  on  the  control 
layer,  the  scanning  process  controls 
the  light  from  the  lamp  which  passes 
through  the  control  layer  in  such  a 
manner  that  a  live  picture  is  instan- 
taneously produced  on  a  large  screen 
in  full  color  and  brightness. 

The  projector  uses  an  optical  pro- 
jection system  so  arranged  that  all  of 
the  light  from  the  source  is  intercept- 
ed by  sets  of  stops  so  that  no  light  is 
projected  onto  the  screen  as  long  as 
the  control  layer  is  smooth.  The  elec- 
tron beam  deforms  the  surface  in 
accordance  with  the  incoming  picture 
information.  Electrostatic  forces 
produce  these  deformations  which 
cause  the  light  to  be  deflected  around 
the  stops  and  onto  the  screen  to  re- 
produce the  original  scene. 

The  technique  of  employing  a  high 
efficiencj  5-kw  xenon  lamp  at  the 
source  <>f  light  for  the  projected  pic- 
ture and  utilizing  the-  electrical  pic- 
ture signal  to  control  or  modulate  this 
light  overcomes  the  limitations  nor- 
mall)  encountered  regarding  screen 
brightness  and  picture  size. 

I  he  xenon  lamp  can  convert  far 
greater  electrical  power  into  light 
with  much  higher  efficiency  than  can 
he  accomplished  on  the  phosphor  face 
of  a  projection  cathode  raj  tube.  The 
xenon  lamp  has  an  intrinsic  peak 
brightness  of  730.000  candles  per 
square  centimeter,  which  is  five  times 
the  apparent  brightness  of  the  sun. 
For  comparison,  tungsten  lamps  have 
a  brightness  of  onl\  .1000  candles  per 
square   centimeter. 

Persistence,  or  storage  character- 
istics of  the  Talaria  projector  depends 
on  the  rate  at  which  deformations  of 
the  control  fluid  decay  or  subside. 
Control  fluids  can  be  compounded 
which  allow  the  persistence  to  be 
made  correct  for  the  fast  frame  rates 
required    in    live   television   presenta- 


tions, or  very  long  for  long  storage  or 
slow  rewriting  cycles.  This  long  stor- 
age characteristic  prevents  objection- 
able "flicker"  when  the  projector  is 
being  used  for  static  display  in  which 
much  of  the  picture  may  remain  un- 
changed for  long  periods. 

The  Talaria  projector  is  a  highly 
flexible    unit    that    can    be    used    for 


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How  electrical  noise  is  produced  .  . . 
calculated  . . .  measured  . . .  controlled 


Here  are  the  basic  facts  about  electrical  noise  —  how  it  originates 
in  circuits  .  .  .  what  terms  describe  it  .  .  .  how  to  measure  it  .  .  . 
how  to  design  circuits  to  minimize  its  undesirable  effects.  The 
physical  nature  of  the  various  sources  of  noise  are  clearly  de- 
scribed, including  such  sources  as  thermal  agitation  or  resistance 
noise  .  .  .  shot  noise  in  vacuum  tubes  and  semiconductor  junctions 
.  .  .  noise  from  spontaneous  emission  of  electromagnetic  radiation 
.  .  .  and  noise  in  gas  discharges.  This  practical  book  also  explains 
auxiliary  mathematical  techniques,  and  discusses  the  relation  of 
signal  and  noise  in  various  types  of  communication  systems.  For 
ease  in  use,  the  simple  tuned  circuit  associated  with  a  device  for 
measuring  average  power  is  made   the  basic  tool  for  analyzing 


ELECTRICAL 


270  pages,  6x9 
105  illustration* 
$10.00 


By  WILLIAM   R.   BENNETT 

Data  Communications  Consultant,  Bell  Telephone  Laboratories,  Inc. 


Each  chapter  in  this  helpful  book  begins  in 
a  simple,  practical  manner  and  works  toward 
more  complicated  examples.  For  example,  prop- 
erties of  thermal  noise  and  its  relation  to  black- 
body  radiation  are  deduced  from  basic  laws 
of  thermodynamics  and  statistical  mechanics. 
You  also  will  find  a  clear  treatment  of  elemen- 
tary quantum  mechanics  in  discussions  of  the 
maser  and  of  noise  in  semiconductors.  And,  in 
describing  noise  properties  of  various  devices, 
the  book  fills  in  your  working  background  with 
basic  facts  on  junction  diodes  —  transistors  — 
gas  discharge  tubes— klystrons— traveling  wave 
amplifiers— and  others.  Both  independent  and 
dependent  noise   sources  are   analyzed. 

In  addition  to  the  standard  theory  of  noise 
figure  and  its  significance,  a  treatment  is  given 
of  the  more  comprehensive  Haus-Adler  theory 
of  noise  measure.  Throughout,  the  book  stresses 
the  universality  of  noise-like  phenomena.  Noise 
formulas  for  diodes  and  transistors;  noise  gen- 
eration to  meet  specifications;  design  of  ampli- 
fiers for  minimum  noise  effects— these  and  many 
other  topics  "are  covered.  A  comprehensive  re- 
view of  noise  in  the  various  methods  of  signal 
transmission  such  as  amplitude  modulation  .  .  . 
frequency  modulation  .  .  .  and  the  different 
lands  of  pulse  modulation  is  included. 


CONTENTS 

1.  General  Properties  of  Noise 

2.  Thermal  Noise 

3.  Distribution  of  Magnitudes  in  Noise  Sources 

4.  Noise  in  Vacuum  Tubes 

5.  Noise  in   Semiconductors 

6.  Noise  in  Electromagnetic  Radiation 

7.  Noise-generating  Equipment 

8.  Noise  Measurements  and  Techniques 

9.  Design  of  Low-noise  Equipment 

10.  Application    of    Fourier    Analysis    to    Noise 
Problems 

11.  Noise  in  Communication  Systems 

INTERNATIONAL  PROJECTIONIST 

Post  Office  Box  6174 

Minneapolis  24,  Minnesota 

Please  send  me  a  copy  of  "Electrical  Noise" 

by  William   R.   Bennett.   (I   enclose   $10.00.) 


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black  and  white  projection  as  well 
as  color,  it  is  claimed. 

Light  output  from  the  projector  is 
more  than  3750  lumens.  This  is  ade- 
quate for  all  types  of  theatre  screens 
up  to  25  ft.  in  height  and  33  ft.  wide, 
including  drive-in  theatres.  With 
proper  lens  attachments  the  throw- 
distance-to-picture-height  ratio  chan- 
ges from  3.1:1  to  10:1,  which  covers 
nearly  all  theatres. 

The  Talaria  system  is  capable  of 
producing  a  wider  gamut  of  colors 
than  the  best  color  film  available  it  is 
claimed,  because  color  is  determined 
by  optical  filters  rather  than  dyes. 

Resolution,  or  amount  of  detail,  is 
about  500  TV  lines,  better  than  home 
TV  receivers. 

Uniformity  of  illumination  is  excel- 
lent. Illumination  at  the  edges  of  the 
Talaria  picture  falls  to  70%  of  that  at 
the  center.  (  SMPTE  standards  allow 
a  drop  to  60%). 

The  Talaria  projector  is  designed 
to  operate  with  the  FCC-approved 
color  system  which  encodes  color  on  a 
3.58-megacycle  chrominance  subcar- 
rier.  The  FCC  system  uses  a  band- 
width of  4.5  megacycles,  but  the  new 
projector  can  also  work  on  a  wide- 
band 7-megacycle  system  with  a  6.44 
megacycle  subcarrier. 

Overall  length  of  the  projector  is 
5  ft.,  8  in.;  height  5  ft.,  4  in.;  width, 
2  ft..  5  in.  Weight  is  approximately 
1.000  lbs.  The  projector  can  be  dis- 
assembled into  two  units  for  porta- 
bility. iP 


18 


CINERAMA 

from  Page  15 
over  a  much  larger  structural  area, 
which  contributes  to  the  resistance  of 
the  loads. 

Because  the  shortest  distance 
between  two  points  on  a  sphere  is  an 
arc  of  a  great  circle  (called  a  geo- 
desic I  all  of  the  force  lines  of  the 
dome  lie  along  great  circles.  This 
arrangement  results  in  an  equal  dis- 
tribution of  stresses  in  all  directions, 
balancing  tension  against  compres- 
sion. It  also  makes  possible  the  use 
of  lightweight  materials  which  in 
conventional  structures  would  hardly 
be  able  to  support  their  own  weight. 

The  dome  can  cover  a  large  area 
without  requiring  support  braces  and 
trusses  normally  used  in  construction. 
Instead,  its  structure  and  skin  are 
one.  It  is  made  by  piecing  together 
diamond-shaped  panels  of  concrete, 
plastic,  aluminum,  or  other  material. 
Each  panel  has  turned-up  edges,  like 
the  rim  of  a  pie  pan.  The  dome  is 
assembled  simply  by  bolting  together 
the  rims  of  adjoining  panels.  iP 

International  Projectionist        March  1963 


»  AUTHORITATIVE 
» COMPREHENSIVE 
» PRACTICAL 


Acclaimed  by  leading  technicians  in 
the  industry  as  the  most  comprehen- 
sive and  down-to-earth  handbook  pub- 
lished to  date  on  the  subject  of  motion 
picture  projection.  Ideally  suited  for 
study  and  reference  by  your  opera- 
tors. 


ROBERT  A.  MITCHELL'S 


MANUAL  OF  PRACTICAL  PROJECTION 


HANDY    5'/2"     x    8' 2"    SIZE    —    450     PAGES    —     ILLUSTRATED     —     CROSS      INDEXED     FOR      EASY      REFERENCE 


*  Here  is  one  of  the  most  help- 
ful works  ever  published  for 
the  motion  picture  projection- 
ist. A  handsomely  bound  and 
profusely  illustrated  compila- 
tion of  the  BEST  of  the  Robert 
A.  Mitchell  articles  that  have 
appeared  in  "International 
Projectionis  t,"  revised, 
brought  up  to  date. 


*  The  author  covers  clearly 
and  thoroughly  every  aspect  of 
motion  picture  projection,  pre- 
senting his  material  in  easily 
understood  language — not  too 
technical,  yet  technically  ac- 
curate. The  Manual  is  divided 
in  8  sections  and  contains  30 
chapters  —  a  valuable  refer- 
ence work  no  progressive  pro- 
jectionist should  be  without. 


! 


SECTION      HEADINGS 


(1)  Film;  (2)  The  Projector;  (3)  Projection-Optics,  Screens;  (4)  The  Arc  Lamp; 
(5)  General  Projection  Practice;  (6)  Motors,  Generators,  and  Rectifiers;  (7) 
Sound   Reproduction   Systems;    (8)    Projection   of  Color  and   3-D   Films,   Formulas. 


ORDER  YOUR  COPY  TODAY  *  USE  THIS  HANDY  FORM 


INTERNATIONAL     PROJECTIONIST 
Post   Office    Box    6174 
Minneapolis  24,    Minnesota 

Gentlemen:   please   send    me copy    (copies   of    ROBERT   A.    MITCHELL'S    MANUAL    OF 

PRACTICAL    PROJECTION.    Enclosed    is    my   check    (or    money-order)    for    $    


NAME 


ADDRESS 


CITY    ZONE 


STATE 


$6.oo 


per   copy 
including    postag* 


International  Projectionist        March  1963 


19 


*IU  tamcua  VENTARC 

—  BY  FAR  THE  MOST  POWERFUL  OF  ALL  PROJECTION  LAMPS 


"Showing  a  picture  in 
a  drive-in  theatre  for 
the  first  time  to  com- 
pete with  an  indoor 
house.  The  increase  in 
revenue  is  worth  the 
investment,"  says  the 
Cranston  Auto  Thea- 
tre, "New  England's 
Finest  Drive-In  Thea- 
tre", Cranston,  R.  I. 


The  Ventarc  employs  a  giant  21-inch 
reflector  and  a  totally  different  tech- 
nique— a  three  dimensional,  cylindri- 
cal shaped  light  source  which  projects 
twice  the  light  of  any  lamps  using 
I6V2"  reflectors,  and  51%  more  light 
than  lamps  using  f  1.7 — 18  lens — 
evenly  distributed  screen  light  of  con- 
stant intensity  and  unchanging  color, 
without  manual  adjustment. 


NATIONAL  THEATRE  SUPPLY  COMPANY 

Branches  Coast  to  Coast 

a     subsidiary     of     general     precision     equipment     corporation 
20  International  Projectionist        March  1963 


SMPTE 
Special  issue 


lighting 
Requirements 
for  Drive-ins 

THE  I1IIO Ullk 


John  Conway,  Local  306  MPO,  is 
r  shown  with  his  Simplex  XL  projec- 
tors in  the  projection  room  of  an- 
other twin  theatre,  Cinema  I  and 
Cinema  II  in  New  York.  Story  on 
page   12. 


APRIL 
VOLUME  38 

40c  A  COPY 


1963 
NUMBER     4 

$3.00  A  YEAR 


»  AUTHORITATIVE 
» COMPREHENSIVE 
» PRACTICAL 


Acclaimed  by  leading  technicians  in 
the  industry  as  the  most  comprehen- 
sive and  down-to-earth  handbook  pub- 
lished to  date  on  the  subject  of  motion 
picture  projection.  Ideally  suited  for 
study  and  reference  by  your  opera- 
tors. 


ROBERT  A.  MITCHELL'S 


MANUAL  OF  PRACTICAL  PROJECTION 


HANDY    5!/2"    x    8i/2"    SIZE 


450    PAGES 


ILLUSTRATED 


CROSS     INDEXED     FOR     EASY     REFERENCE 


it  Here  is  one  of  the  most  help- 
ful works  ever  published  for 
the  motion  picture  projection- 
ist. A  handsomely  bound  and 
profusely  illustrated  compila- 
tion of  the  BEST  of  the  Robert 
A.  Mitchell  articles  that  have 
appeared  in  "International 
Projectionis  t,"  revised, 
brought  up  to  date. 


it  The  author  covers  clearly 
and  thoroughly  every  aspect  of 
motion  picture  projection,  pre- 
senting his  material  in  easily 
understood  language — not  too 
technical,  yet  technically  ac- 
curate. The  Manual  is  divided 
in  8  sections  and  contains  30 
chapters  —  a  valuable  refer- 
ence work  no  progressive  pro- 
jectionist should  be  without. 


SECTION     HEADINGS 


(1)  Film;  (2)  The  Projector;  (3)  Projection-Optics,  Screens;  (4)  The  Arc  Lamp; 
(5)  General  Projection  Practice;  (6)  Motors,  Generators,  and  Rectifiers;  (7) 
Sound    Reproduction   Systems;    (8)    Projection   of  Color  and  3-D   Films,   Formulas. 


ORDER  YOUR  COPY  TODAY  *  USE  THIS  HANDY  FORM 

INTERNATIONAL    PROJECTIONIST 
Post    Office    Box    6174 
Minneapolis  24,    Minnesota 

Gentlemen:    please   send   me    copy    (copies   of    ROBERT   A.    MITCHELL'S    MANUAL    OF 

PRACTICAL    PROJECTION.    Enclosed    is   my   check    (or   money-order)    for   $ 


NAME 


ADDRESS 


$6.oo 


per    copy 
including    postage 


CITY ZONE     STATE 


A  Scene  From  America's  Projector  Carbon  Center... 


X-ray  reveals  breaks  and  voids  in  positive  projector  carbon  core: 


"The  x-ray  eyes  of  our  inspectors  are  your 
assurance  of  perfect  projector  carbon  cores" 


You  can't  judge  a  movie  by  its 
title.  And  you  can't  judge  a  pro- 
jector carbon  solely  from  the 
outside.  That's  why  carbon  in- 
spectors in  our  plant  in  Fostoria, 
Ohio,  test  every  carbon  from       Veryi  Johnson 
the  inside  out  —  with  modern  x-ray  equipment. 
As  an  extra  safeguard,  our  inspectors  are  paid 
a  premium  for  every  imperfect  carbon  they  re- 
ject and  scrap. 

Shown  above  is  our  x-ray  room,  through  which 
all  positive  carbons  must  pass  on  a  belt  contain- 
ing from  6  to  20  carbons,  depending  on  size.  The 
assignment  is  to  weed  out  carbons  with  voids  or 


-says  VERYL  JOHNSON 

National  Carbon  Sales  Engineer 

breaks  in  their  rare  earth  cores  —  the  key  to  un- 
interrupted burningand  maximum  light  quality. 

As  a  further  inspection  safeguard,  operators 
of  this  x-ray  equipment  stay  keen  and  alert  by 
changing  off  every  30  minutes! 

Quality  manufacturing  and  precision  testing 
are  only  a  part  of  the  "National"  projector  car- 
bon story.  For  45  years  National  Carbon  Com- 
pany has  provided  the  motion  picture  theatre 
industry  with  unsurpassed  technical  service. 

Our  Sales  Engineers  are  equipped  with,  and 
are  specialists  in  using,  today's  most  modern 
test  devices  for  assuring  more  screen  light  per 
projector  carbon  dollar! 


Contact 
Mr  National  Carbon 


UNION 
CARBIDE 


"National"  and  "Union  Carbide"  are  registered  trade-marks  for  products  of 

NATIONAL  CARBON   COMPANY 

Division  of  Union  Carbide  Corporation  •  270  Park  Avenue  •  New  York  17,  N.  Y. 
In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


Volume  38 


April,  1963 


Number  4 


Proper  Drive-ln  Projection   by  Robert  a.  Mitcheii 


A  Picture  that  is  consistently  bright  and  clear  on 
the  screen  bespeaks  a  high  degree  of  competence  on  the 
part  of  the  "unseen  showman"  in  the  projection  room.  A 
brilliant,  uniformly  illuminated  screen,  free  from  brown- 
ish or  bluish  discolorations,  reveals  that  the  projectionist 
takes  extra  care  to  line  up  his  lamp  equipment  and  to 
keep  the  arc  burning  properly  at  all  times.  Likewise,  a 
knife-sharp  focus  of  the  picture  (barring  "fuzzy"  prints^ 
is  another  hallmark  of  the  conscientious  projectionist, 
inasmuch  as  different  prints,  and  even  different  portions 
of  the  selfsame  reel,  ordinarily  require  slightly  different 
lens  settings  for  the  highest  resolution  of  the  image. 

It's  a  safe  bet  that  the  projectionist  who  gives  fre- 
quent attention  to  the  arcs  and  to  the  focus  presides  just 
as  diligently  over  all  the  multifarious  details  of  the 
complex  projection  process. 

Now.  when  we  go  from  an  adequately  equipped  in- 
door theatre  to  the  usual  drive-in  having  an  excessively 
large  screen  (perhaps  badly  weathered  and  in  need  of 
repainting ) ,  the  aforementioned  indications  of  expert 
work  in  the  projection  room  come  in  for  a  rude  shaking- 
up!  How  can  the  picture  possibly  be  well  lighted  when 
the  tremendous  area  of  the  drive-in  screen  overtaxes  the 
capacity  of  the  arc  lamps?  How  can  a  knife-sharp  focus 
be  obtained  when  the  radiant  heat  blazing  upon  the  aper- 
ture is  so  intense  that  the  film  flutters  like  a  rag  in  the 
breeze?  The  projectionist  in  the  average  drive-in  labors 
under  a  disadvantage  even  when  he  does  the  best  he  can 
with  the  unsuitable  equipment  given  him  to  operate.  Low- 
powered  lamps  forced  beyond  their  capacity,  the  absence 
of  heat  filters,  cold  mirrors,  or  water-cooled  film  gates, 
and  the  use  of  "slow"  uncoated  projection  lenses  all  con- 
tribute to  the  shockingly  low  quality  of  much  of  the 
drive-in  projection  presently  on  view. 
Minimum    Brightness   Raised  to  41/2    FL 

The  dim,  shadowy  images  which  wander  like  half- 
materialized  ghosts  on  most  drive-in  screens  today  are 
wholly  unnecessary.  Up  to  a  certain  screen  size  for  each 
type  of  screen  surface,  it  is  possible  to  achieve  an  accep- 
table screen  brightness  level  in  drive-in  projection.  Mod- 
ern arc  lamps  of  high  power  are  capable  of  adequately 
lighting  white-painted  drive-in  screens  up  to  width  of 
75  feet,  and  aluminum-painted  screens  of  only  moderate 
"gain"  up  to  a  width  of  105  feet.  The  lamps  we  have  in 
mind  are  of  the  "blown-arc"  type;  but  the  maximum  al- 
lowable screen  sizes  when  the  most  powerful  regular 
rotating-positive  mirror  lamps  are  used  are  only  10  or 
15  feet  smaller  in  width. 

So  gratifying  have  been  the  results  obtained  on  drive- 
in  screens  with  the  powerful  lamps  designed  expressly 
for  large-screen  projection,  that  the  old  unofficial  stan- 
dard of  4  footlamberts  as  the  minimum  center-screen 
brightness  for  drive-ins  has  been  supplanted  by  SMPTE 

INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the  Inter- 
national Projectionist  Publishing  Co.  division  of  The  Northern  Publish- 
ing Co.,  Post  Office  Box  6174,  Minneapolis  24,  Minnesota.  Editorial 
offices,  1645  Hennepin  Avenue,  Minneapolis  3,  Minn.  Second-class 
postage  paid  at  Minneapolis,  Minn. 

4 


Recommended  Practice  RP12,  which  requires  a  minimum 
of  4.5  footlamberts  measureed  on  the  viewing  axis  at  the 
center  of  the  screen  illuminated  by  one  projector  running 
without  film. 

A  screen  brightness  of  4%  FL  is  45%  of  the  indoor 
minimum  standard  of  10  FL  (the  brightness  difference 
between  a  rather  pale  light  gray  and  white ) ,  or  28%  of 
the  indoor  median  standard  of  16  FL.  The  maximum  cen- 
ter-screen brightness  for  both  indoor  and  drive-in  thea- 
tres, specified  by  American  Standard  PH22. 124-1961,  as 
20  FL.* 

Unfortunately,  more  than  half  of  the  drive-in  thea- 
tres recently  surveyed  by  professional  groups  have  screen 
brightness  of  less  than  3  FL,  substantially  below  the  of- 
ficial recommended  minimum.  (About  40%  of  all  drive- 
ins  have  screens  from  80  to  100  feet  wide,  while  another 
40%  have  screens  wider  than  100  feet. ) 

Reflectivity   of  White  Screens 

Most  drive-in  screens  are  surfaced  with  matte  (non- 
gloss  white  paint  presumably  formulated  for  high  re- 
flectance and  resistance  to  sun,  wind,  rain,  and  the  severe 
weather  conditions  of  winter.  If  the  white  screen  paint 
has  a  pigment  composed  principally  of  titanium  dioxide, 
and  if  two  coats  are  applied  by  spraying  over  a  bright 
aluminum  undercoat,  the  screen  should  reflect  somewhat 
more  than  90%  of  the  light.  A  "diffuse  reflectivity"  in 
excess  of  90%  cannot  be  surpassed  by  any  other  white 
paint  having  acceptable  covering  power  and  resistance 
to  time,  weather,  and  chemical  fumes. 

Screen  paints  formulated  with  zinc  oxide  and/or  bari- 
um sulfate  have  diffuse  reflectivities  of  about  85%, 
which  must  also  be  considered  good.  Paints  containing 
white  lead  ( basic  lead  carbonate )  have  excellent  covering 
power  and  are  initially  very  white,  but  should  be  avoided 
because  lead  pigments  darken  and  turn,  first  yellow,  then 
brown,  when  exposed  to  the  sulfurous  fumes  usually  pres- 
ent in  the  air  in  the  vicinity  of  towns  and  highways.  The 
disastrous  color  change  is  due  to  the  formation  of  traces 
of  black  lead  sulfide. 

A  very  cautious  consideration  of  all  available  arc- 
lamps,  lens,  and  screen  data  enables  us  to  state  that  matte 
drive-in  screens  of  85%  reflectivity  be  no  wider  than  65 
feet  for  4%  footlamberts  or  more  of  brightness  with  18- 
inch  mirror  lamps  burning  13.6-mm  carbons  at  160 
amps.,  or  no  wider  than  75  feet  for  the  same  light  levels 
when  blown-arc  lamps — the  most  powerful  of  all — are 
used.  Screens  wider  than  75  feet  (most  of  them  are!) 
require  "directional"  aluminum-type  paints  to  obtain  at 
least  the  minimum  recommended  4%  footlamberts  with 
even  the  most  powerful  arc  lamps  presently  available. 

*The  SMPTE-American  Standards  specification  of  10,  16, 
and  20  footlamberts  for  the  minimum,  median,  and  maximum 
indoor  screen  brightness  levels  is  somewhat  mystifying,  inas- 
much as  visual  brightness  differences  are  Weber-Fechner 
functions  of  physical  luminance.  If  16  FL  be  accepted  as  the 
median,  and  10  FL  the  minimum,  we  should  expect  a  maximum 
allowable  brightness  very  close  to  23  FL. 


International  Projectionist 


April  1963 


Aluminum-painted  screens  require  a  difficult  and  ex- 
pensive installation  of  the  screen  surface.  This  is  also  true 
when  corrugated  or  lenticulated  aluminum  plate  is  used 
for  optimum  light  distribution.  It  is  absolutely  necessary 
to  tilt  aluminum-surfaced  screens  so  that  the  light  will 
be  thrown  down  into  the  viewing  area.  A  perfectly  verti- 
cal aluminum  screen  is  verv  unsatisfactory  in  a  drive-in. 
and  is  worse  than  useless  if  the  upward  projection  angle 
is  much  greater  than  5  degrees.  Aluminum-painted  sur- 
faces reflect  light  mirrorwise;  and  failure  to  tilt  the 
screen  downward  will  result  in  the  light  being  directed 
over  the  tops  of  the  cars  and  up  into  the  sky .  Only  the 
owls  and  nighthawks  will  see  a  bright  picture. 

The  downward  tilt  of  an  aluminum  drive-in  screen 
should  be  2  or  3  degrees  le?s  than  the  upward  projection 
angle.  That  is.  if  the  projectors  tilt  up  at  a  7-degree 
angle,  the  screen  should  tilt  down  by  about  5  degrees. 
I  Too  great  a  tilt  will  rob  the  ramps  behind  the  projec- 
tion building  of  light!  i 

\fter  some  months  of  weathering,  an  outdoor  alumi- 
num screen  loses  both  light-reflecting  power  and  direc- 
tional "gain."  An  aluminum-painted  screen  which  initial- 
l\  had  an  overall  "integrated"  reflectivitj  of  ">()'<  drop- 
ped to  65',  after  one  winter.  This  is  a  change  in  color 
from  a  bright  silver)  white  to  light  gray.  Then.  too.  the 
initial  light  gain  of  3  of  thi>  screen  la  center-screen  re- 
Oectivit]  of  300^5  measured  on  the  optical  axis  1  dropped 
to  l1^  l  center-screen  reflectivity  of  15095  in  the  same 
length  of  time.  Even  though  the  extreme  ends  of  the 
ramps  received  a  hit  more  light  than  they  did  when  the 
aluminum  paint  was  fresh,  the  overall  reflectance  was 
down,  and  the  middle  of  the  viewing  area  suffered  ex- 
cessive dimming  of  the  picture. 

Aluminum    paint    manufacturers    mav    claim    that    the 


particular  brand  of  paint  used  on  this  screen  was  of 
poor  quality,  but  this  severe  loss  of  reflecting  power 
and  gain  in  a  12-month  period  is  entirely  in  line  with 
our  experience  with  several  brands  of  aluminum  screen 
paints  used  out  of  doors.  Indeed,  we  are  reluctant  to 
assign  a  center-screen  reflectance  greater  than  150%  • 
to  any  weathered  aluminum-painted  drive-in  screen  even 
when  the  screen  is  properly  tilted  so  as  to  give  the 
audience  the  benefit  of  this  admittedly  moderate  light- 
gain.  An  aluminum-screen  reflectivity  of  150%,  con- 
servative though  it  may  be.  is  a  very  safe  one  to  guide 
us  in  the  choice  of  a  suitable  screen  size  and  a  set  of 
arc  lamps  to  insure  the  standard  minimum  brightness 
of  41  L.  FL. 

Therefore,  if  the  aluminum  screen  has  an  axial 
reflectivity  of  150%.  it  should  be  no  wider  than  90 
feet  when  the  lamps  burn  regular  13.6-mm  carbons  at 
about  160  amps.,  or  no  wider  than  105  feet  when  the 
lamps  are  of  the  blown-arc  type.  Of  course,  a  higher 
gain  than  1  j  L>  will  permit  the  projection  of  still  larger 
pictures  having  a  brightness  of  at  least  4VL>  FL,  but  we 
refuse  to  count  on  a  gain  much  exceeding  1%  for  out- 
door aluminum  screens. 

The  foregoing  maximum  screen-width  recommenda- 
tions are  for  35  -  mm  non  -  anamorphic  projection,  and 
are  based  on  the  assumption  that  the  light  transmission 
of  the  projector  shutter  is  at  least  50%  ( it  is  usually 
a  little  more  in  drive-in  projectors  I.  that  there  are 
no  physical  obstructions  in  the  path  of  the  light  beam 
a-  it  comes  from  the  arc  lam))  I  onlv  modern  mechanisms 
fill  this  requirement),  that  the  projection  lens  is  anti- 
reflection  coated  and  has  an  optical  speed  of  at  least 
f  1.''.  and  preferably  f  1.7.  If  projector-port  glasses 
are  used  in  the  drive-in  projection  building  to  prevent 
urilt\    du-t   from   blowing  in  and  settling  upon  the  lenses, 


LUMENS   FOR  H  F00TLAMBERTS 

LUMENS   FOR   10 

F00TLAMBERTS 

SCREEN 

WIDTH 

Q5% 

CARBON 

150^ 

CARBON 

85% 

CARBOl 

150^ 

CARBON 

(Feet) 

MATTE 

AND 

ALUMINUM 

AND 

MATTE 

ANI 

» 

ALUMINUM 

AND 

SCREEN 

AMPERAGE 

SCREEN 

AMPERAGE 

SCREEN 

AMPERAGE 

SCREEN 

AMPERAGE 

20 

1  ,600 

7mm  40A 

900 
1,400 

7mm  40A       3,500 

7mm 

42A 

2,000 

7mm  40A 

25 

2,500 

7mm  40A 

7mm  40A        5,500 

7mm 

50A 

3,100 
4,500 

7mm  40A 

30 

3,600 
4,900 
6,400 

7mm  42A 

2,000 

7mm  40A       8,000 

9mm 

80A 

7mm  46A 
8mm  60A 

3 

7mm  46A 

2,800 

7mm  40A     11 ,000 

10mm 

110A 

6,100 

8mm  60A 

3,600 

7mm  42A     1 4,000 

13.6 

145A 

8,000 

9mm  80A 

±5 

8,100 

9mm  80A 

If,  600 

7mm  46A     18,000 

13.6 

165A 

10,000 

10mm  100A 

50 

10,000 

10mm  100A 

5,600 

7mm   50A     22,000 

Blowr 

i  arc 

13,000 

11mm  115A 

55 

12,000 

10mm  105A 

6,800 

8mm  65A   (27,000) 

15,000 

13.6  150A 

60 

14,000 

11mm  120A 

8,000 

9mm  80A   (32,000) 

18,000 

13.6  165A 

65 

17,000 

13.6  160A 

9,500 

9mm  85A  (37,000) 

21 ,000 

Blown  arc 

70 

20,000 

Blown  arc 

11,000 

10mm  110A(43,0O0) 

25,000 

Blown  arc 

V 

23,000 

Blown  arc 

13,000 

1 1f, 000 

11mm  115A(50,000) 

(28,000) 

80 

(26,000) 

11mm  120A(57,000) 
13.6  155A(64,000) 

(32,000) 

85 

(29,000) 

16,000 

(36,000) 
(41 ,000) 

90 

(32,000) 

18,000 

13.6  165A(72,000) 

95 

(36,000) 
(40,000) 

20,000 

Blown  arc (80,000) 

(45,000) 

100 

23,000 

Blown  arc (88, 000) 

(50,000) 

105 

(44,000) 

25,000 

Blown  arc (97, 000) 

(55,000) 

110 

(48,000) 

(27,000) 

(110,000) 

(61,000) 

115 

(53,ooo) 

(30,000) 

(120,000) 

(66,000) 

TABLE  1  —  Required  screen  lumens  (projector  run- 
ning without  film)  and  suggested  sizes  of  positive  carbons 
and  arc  currents  for  screen  widths  of  20  to  115  feet  for 
either    4J/2    or    10    footlamberts   brightness    on    white    and 


International   Projectionist 


April   1963 


aluminum  screens.  (Lumen  values  in  parenthesis  exceed 
the  capacities  of  the  most  powerful  arc  lamps.)  MULTIPLY 
ALL  LUMEN  VALUES  IN  THIS  TABLE  BY  2  TO 
EQUATE    WITH    MANUFACTURERS'    RATINGS. 

5 


Reasonably  uniform  illumination 
on  drive-in  screens  is  desirable. 


Side -to -center  light  distributions 
of  less  than  60%  results  in  a 
center -screen  "hot  spot" 

they  should  be  of  the  finest  quality  flat-ground  and 
polished  colorless  optical  glass.  Anti-reflection  coating 
of  projector-port  glasses  is  desirable,  but  not  abso- 
lutely necessary. 

All  available  methods  of  reducing  heating  of  the 
film  and  projector  gate  should  be  utilized  in  drive-in 
projection,  otherwise  it  will  be  impossible  to  get  sharply 
focused  pictures  on  the  screen.  Air  cooling  of  the  film 
is  optional,  however,  as  there  is  some  doubt  as  to  its 
efficacy  in  reducing  film  flutter.  Water  cooling  of  the 
gate  and  aperture  is  a  necessary  adjunct  to  successful 
drive-in  projection:  and  the  use  of  either  heat  filters 
or  cold  arc-lamp  mirrors  must  be  regarded  as  an  abso- 
lute necessity. 

Interference-type  heat  filters  ( not  the  older  absorp- 
tion type!  )  should  be  used  with  Suprex-type  lamps  burn- 
ing 8-mm  positive  carbons  at  70  amps,  and  with  Suprex 
lamps  burning  9-mm  carbons  at  75  or  80  amps.  The 
more  powerful  rotating-positive  high-intensity  mirror 
lamps  require  either  heat  filters  or  cold  mirrors,  but 
the  latter  being  preferred  because  they  reduce  heat  as 
effectively  as  the  best  filters  without  wasting  light  as 
filters  do.  Light,  it  must  always  be  remembered,  is 
at  a  premium  in  drive-in  projection. 

Filters   and    Cold    Mirrors   Compared 

Old-fashioned  infrared-absorbing  filters  reduce  heat- 
ing of  the  film  by  about  40%  with  an  accompanying 
light  loss  of  20% .  Interference,  or  "dichroic,"*  heat 
filters  do  not  absorb  infrared  radiation,  but  reflect  it 
tack  toward  the  lamphouse.  These  reduce  the  heat  by  ap- 
proximately 45%  with  a  15%  light  loss.  Cold  mirrors, 
on  the  other  hand,  allow  the  invisible  heat-producing 
infrared  rays  to  pass  through  into  the  rear  of  the  lamp- 
house,  and  thus  reduce  heating  of  the  film  by  about 
46%  with  no  loss  of  light  relative  to  the  efficiency  of 
ordinary  silvered  mirrors. 

In  order  to  reduce  focus-ruining  heat  on  the  film 
without  the   light  losses   occasioned   by   heat   filters,   we 


urgently  recommend  that  interference  (dichroic*)  cold 
mirrors  be  installed  in  all  rotating-positive  reflector 
lamps,  and  that  heat  filters  be  eliminated.  As  a  matter 
of  fact,  the  successful  operation  of  all  the  more  power- 
ful high-intensity  arc  lamps,  including  those  of  the 
blown-arc  type,  absolutely  requires  the  use  of  cold  mir- 
rors. 

Because  of  their  prodigal  consumption  of  power  and 
relatively  low  luminous  efficiency,  condenser-type  arc 
lamps  are  not  recommended  for  drive-in  use.  A  few 
of  the  larger  indoor  theatres  retain  these  old  power- 
eaters  because  they  are  relatively  insensitive  to  small 
errors  in  arc  focus,  making  their  operation  very  simple, 
and  because  they  provide  exceptionally  uniform  illumina- 
tion on  the  screen.  Frequent  replacement  of  chipped 
and  cracked  condensing  lenses  adds  to  the  cost  of  their 
operation. 

60% — 80%    Light   Distribution 

All  high-powered  mirror  lamps  of  American  manu- 
facture provide  a  reasonably  uniform  distribution  of 
light  without  a  conspicuous  "hot  spot"  in  the  middle 
of  the  screen.  When  the  arc  is  focused  for  maximum 
screen  light,  Suprex-type  lamps  having  14-inch  mirrors 
give  a  side-to-center  light  distribution  of  60%  with  7- 
and  8-mm  positive  carbons,  and  65%  with  9-mm  car- 
bons. Rotating-positive  lamps  having  16-  or  18-inch 
mirrors  provide  a  distribution  of  55%  with  9-mm  car- 
bons, 60%  with  10-mm  carbons,  65%  with  10-mm  Hi- 
tex  and  11-mm  regular  carbons,  and  70%  to  80%  with 
13.6-mm  carbons,  the  more  uniform  light  distribution 
being  obtained  at  currents  close  to  the  rated  maximum 
for  this  size. 

A  new  lamp  on  the  market  gives  a  side-to-center 
distribution  in  excess  of  75%  by  shifting  the  "spot," 
or  arc-image  focus,  ahead  of  the  aperture.  The  Strong 
Jetarc  blown-arc  lamp,  which  burns  10-mm  Hitex  car- 
bons in  the  130-138  amp.  range,  and  10-mm  Ultrex 
carbons  in  the  155-160  amp.  range,  provides  a  light  dis- 
tribution of  80%  and  higher  on  the  screen.  This  ap- 
pears perfectly  uniform  to  the  eye. 

It  was  previously  stated  that  the  drive-in  minimum 
light-level  standard  of  41/>>  footlamberts  can  be  ob- 
tained on  matte  white  screens  65  feet  wide  with  mirror 
lamps  burning  13.6-mm  carbons  at  160  amps.,  or  75 
feet  wide  with  blown-arc  lamps.  The  maximum  widths 
for  the  same  light  level  with  the  same  types  of  lamps 
on  aluminum  screens  of  150%  center  reflectivity  are 
90  and  105  feet.  If  the  screen  width  is  substantially 
smaller,  the  attainment  of  the  indoor  minimum  standard 
of  10  footlamberts  is  entirely  feasible,  providing  a  bril- 
liance of  projection  which  will  prove  an  eye-opener  to 
most  drive-in  patrons,  and  gain  considerable  favor  for 
the  theatre.  Audiences  appreciate  seeing  motion  pic- 
tures at  their  best! 
"Indoor"    Brightness   for   Drive-Ins? 

How  wide  can  the  screen  be  to  have  not  less  than 
10  FL  of  center-screen  brightness  when  the  more  power- 
ful arc  lamps  are  used?  If  the  screen  is  matte  white 
(85^  refl. ),  it  may  be  up  to  45  feet  wide  for  a  10  FL 
level  when  13.6-mm  carbons  are  burned  at  approxi- 
mately 160  amps,  in  mirror  lamps,  or  up  to  50  feet 
wide  when  blown-arc  lamp  equipment  is  used.  If  the 
screen  is  of  the  150%   aluminum-painted  type   (properly 

*The  word  "dichroic"  actually  means  "two-colored,"  and 
should  be  restricetd  to  mean  only  interference  filters  and  mirrors 
which  transmit  one  color,  or  portion  of  the  visible  spectrum,  and 
reflect  another.  The  term  "color"  does  not  properly  apply  to 
infrared  or  any  other  invisible  radiation.  All  colors  are  perforce 
visible:  the  terms  "invisible  colors"  and  "invisible  light"  are 
absurd. 

(Please  turn  to  page  18) 


International  Projectionist 


April  1963 


The  Cover  Story: 
Simplex  Projector 
Line  Humming 

If  you  wanted  to  see  some  evidence 
.  >f  the  recent  upswing  in  the  motion 
picture  theatre  industry,  all  you 
would  have  to  do  is  \  isit  the  produc- 
tion line  of  Simplex  XL  projection 
mechanisms.  Hundreds  of  XLs  in 
various  stages  of  completion  and 
testing  were  in  evidence  at  the  Plea- 
santville.  New  York  plant  of  National 
Theatre  Supply's  fellow  subsidiary  of 
the  General  Precision  Equipment 
Corp.,  the  Pleasantville  Instrument 
Co. 

\t  one  end  of  the  production  line. 
■  in-  could  see  a  i emarkable  $45,000 
Bui'irmaster  machine,  which  i>  con- 
trolled hv  magnetic  tape  and  auto- 
matical drills,  taps  and  does  other 
operations  on  castings.  In  the  final 
stages  "I  the  assemblj  process,  vou 
find  experts  utilizing  test  film  to 
check  ever)  mechanism  for  the 
steadiness  that  the  Simplex  \l.  mech- 
anisms have  become  famous  for.  No 
projector  can  he  shipped  out  unless 
it  nicety  the  most  rigid  standards  of 
perfection  set  up  for  this  equipment. 
\\  il  la  id  J.  Turnhull.  president  of 
National  Theatre  Suppl)  Company,  is 
extremelv  enthused  about  prospects 
of  the  motion  picture-  industry.  Last 
summer,  for  example,  his  companv 
supplied   Simplex    \l.  projection  and 

Cover  Story: 

John  Conway,  member  of  local  306, 
Motion  Picture  Machine  Operators, 
I.A.T.S.E.,  is  shown  on  the  cover  in 
the  projection  room  of  Cinema  II,  the 
lower  level  theatre  in  the  structure  that 
houses  two  theatres  in  one  building. 
The  upper  level  theatre  is  called 
Cinema  I. 

Located  on  Third  Avenue  in  New 
York  City,  Cinema  I  and  Cinema  II 
were  opened  last  June  by  Rugoff 
Theatres,  Inc.  Both  theatres  are  equip- 
ped with  Simplex  XL  projection  and 
sound  systems.  Conway,  who  has  been 
a  projectionist  since  1923,  feels  very 
strongly  that  a  pair  of  Simplex  XL's 
are  the  best  friends  a  projectionist  can 
have.  Their  smoothness  and  reliability 
are  unexcelled,  in  his  experience. 

Cinema  I  and  Cinema  II  are  two  of 
)  the  seven  new  theatres  opened  in  the 
New  York  City  area  during  a  six  week 
period  last  summer.  All  seven  of  the 
theatres  chose  Simplex  XL  projection 
equipment.  National  Theatre  Supply's 
New  York  City  bran;h  handled  all 
the  installations. 


"Remarkable  Reliability" 

At  New  York's  famed  Radio  City  Music  Hall,  chief  projectionist  Ben  Olevsky  put  it  this 
way.  "The  reliability  of  the  Simplex  X-L  projector  is  remarkable.  Our  projectors  were 
installed  by  National  Theatre  Supply  in  1950  and  have  been  maintained  by  our  staff 
since  then.  In  11  years  of  operation  they  have  never  been  removed  for  overhaul!" 
Similar  opinions  and  experiences  are  reported  all  the  time  by  projection  "pros"  like 
Ben  at  most  top  theatres  throughout  the  country.  The  facts  are  that  no  other  mechanism 
on  the  market  is  designed  and  built  to  the  engineering  perfection  achieved  in  the  X-L. 
Incorporating  every  new  advance  in  projection,  the  X-L  is  your  assurance  that  you'll 
have  a  dependable,  up-to-date  projector  for  many  years  to  come. 

projection  and 

SOUND  SYSTEMS 

NATIONAL  THEATRE   SUPPLY  COMPANY  Branches  Coast  to  Coast 

50    PROSPECT    AV  ENU  E  •  TAR  RYTOWN,    N.Y.'MEDFORD    1-6200 

SUBSIDIARY    OF    GENERAL     PRECISION     EQUIPMENT    CORPORATION 


International   Projectionist 


April   1963 


sound  equipment  for  seven  new  thea- 
tres that  opened  during  one  six  week 
period  in  the  New  York  City  area 
alone.  Turnbull  pointed  out  the 
growing  awareness  on  the  part  of  the 
industry  for  the  need  to  have  projec- 
tion and  sound  of  the  finest  quality. 
He  stated  "Brilliant  projection  and 
excellent  sound  reproduction  are  two 
vital  elements  of  motion  picture  pre- 
sentation that  no  other  entertainment 
media  can  compete  with.  A  theatre 
owner  that  shows  a  jumpy,  out-of- 
focus  film,  with  poor  quality  sound, 
is   selling  shoddy   goods.     Customers 


The    Simplex    XL   production    line    where    parts   and    major    sub-assemblies    are    added 
to   the    main    frame. 


don't  like  it  and  won't  come  back 
even  if  the  best  feature  pictures  are 
being  shown.  This  is  one  reason  why 
many  of  our  orders  for  new  equip- 
ment are  for  replacement  of  20  and 
30  year  old  projectors." 


In  the  final  stage  of  assembly,  the 
shutter  is  installed  prior  to  putting  the 
outside  covers  and  doors  in  place. 


SPEED 


IN  PROJECTION 

Kollmorgen  lenses  rate  tops  in  the  motion 
picture  industry.  Used  exclusively  with 
Cinerama,  they  are  standard  equipment 
in  more  than  70%  of  American  theaters. 
High  light  uniformity  and  less  light  loss 
on  the  screen— the  whole  screen— are  typ- 
ical of  the  outstanding  performance  of 
super  snaplite'I"  lenses. 

Other  advantages  that  add  up  to  supe- 
rior screening  with  super  snaplite  are: 


Wire  sharp  contrast 
Uniform  illumination 
Crystal  clarity 

Wide  range  of  focal  lengths 
Sealed  construction 


All  mechanisms  are  run-in  and  final 
adjustments  or  touching  up  is  com- 
pleted at  this  stage  of  the  production 
line. 


Bulletin  222  describes  Kollmorgen 
lenses  in  detail.  See  your  equip- 
ment dealer,  or  write  us  direct. 


CORPORATION 

NORTHAMPTON,  MASSACHUSETTS 


The  mechanisms  are  now  ready  for  the 
steadiness  test.  The  projectors  shown 
here  are  part  of  over  a  million  dollars 
worth  of  Simplex  XL  projectors  in 
various  stages  of  assembly. 


International  Projectionist 


April  1963 


Every  mechanism  is  cxactingly  tested 
for  steadiness.  Experts  use  special  test 
films  to  check  for  picture  jump  and 
side  weave. 

Three   Get    New    Kodak 
Executive    Positions 

ROCHESTER,  N.  Y.  —  Appoint- 
ment of  three  Eastman  Kodak  execu- 
te ea  to  new  positions  within  the  com- 
parn    have  been  announced  here. 


Mechanisms  are  thorougly  cleaned  by 
means  of  a  spray  bath  with  special 
chemicals. 


This  $45,000  Burgmaster  machine  is 
controlled  by  magnetic  tape.  It  auto- 
matically drills,  taps  and  does  other 
operations   on    the    castings.  il* 


\\  illmont.  Moss,  eastern  regional 
assistant  credit  manager  since  L954, 
has  been  appointed  manager  of  the 
western  credit  region.  R.  G.  Van 
Duyne,  office  manager  for  the  south- 
eastern sales  division  with  headquart- 
ters     at     (lhamhiee.     (la.,     has     been 


brought  to  Rochester  as  credit  man- 
ager for  the  midwestern  division. 
He  will  be  replaced  by  Louis  B. 
Stahlman  who  moves  from  the  Kodak 
Distribution  Center  to  the  office 
managership  at  Chamblee.  il* 


CMcMfL  PROVED  BYTEST...BYFARTHE  BEST 

Arc  Lamps  and  Rectifiers  for  Every  Projector... for  Every  Theatre... The  World's  Finest 

HERE  ARE  THE   FACTS 


SUPER  CINEX  ...  The  masterpiece 
of  the  most  experienced  projection  lamp 
designer.  No  other  lamp  has  even  re- 
motely approached  its  perfection  from 
every  point  of  view— mechanically,  elec- 
trically, optically,  hydraulically  or  its  fine 
air-conditioned  system.  Its  durability  and 
stamina  have  been  proved.  More  and  more 
fine  theatres  and  drive-ins  are  re-equip- 
ping with  Ashcraft  Super  Cinex  daily  due 
to  their  fine  reputation  for  perfect  screen 
light  and  service.  Current  range  with  1  3.6 
mm  carbon,    125-165  amperes. 


CORE-LITE  ...  the  latest  and  most 
phenomenal  producer  of  white  light  at 
lowest  possible  operating  cost  in  the  fam- 
ily of  Great  Ashcraft  Arc  Lamps.  Same  arc 
burner  and  arc  controls  as  the  SUPER- 
CINEX.  Same  quality  and  built-in  reliabil- 
ity. The  lamp  is  optically  designed  to  give 
greater  white  light  distribution  at  less  cost 
for  carbons  and  electricity.  There  is  none 
better— anywhere!  70-110  amp. 


CINE X  35/70  SPECIAL  . .  . The 

Great  of  the  Ashcraft  Arc  Lamps  is  a  modi- 
fied Super  Cinex.  Like  the  Super  Cinex  no 
third   element    or   relay    lens   is  necessary 
regardless  whether  35  mm  or  70  mm  film 
is  being   projected.  Uses  a   13.6  mm         ^^ 
high  intensity  positive  carbon  at 
current  ranges  between  1  25  and 
1  40  amperes. 


RECTIFIER  ...THE  SPECIAL  CORE- 
LITE  1 2  PHASE  HIGH  REACTANCE 

"fCTIrltK  .  .  .  designed  for  the  require- 
ments of  the  Core-Lite  lamp,  this  rectifier  wi 
give  the  best  results.  Low  reactance  6  phase 
rectifiers  should  not  be  used.  Certain  motor  gen- 
erators, but  not  all,  are  acceptable.  The  special 
Core-Lite  S/1212  rectifier  will  give  you  long, 
excellent  service  with  an  absolute  minimum  of 
expense.  Other  Ashcraft  rectifiers  available  for 
every  power  need.  The  cost  is  no  more  than  for 
inferior  rectifiers. 


SOLD  EVERYWHERE  IN  THE  UNITED  STATES  BY  LEADING  RECOGNIZED  THEATRE  SUPPLY  DEALERS 

CS.  ASHCRAFT  MFG.  CO.,  INC.  •  36-32  38th  STREET-  LONG  ISLAND  CITY  1,  N.Y. 


International   Projectionist 


April   1963 


23 

22 

21 

20 

19 

18 

17 

24 

25 

26 

27 

28 

29 

30 

W.  J.  GERMAN,  INC 

.  .  .  agent  for  the  sale  and  distribution  of 


FORT  LEE,  N.  J. 
Jane   Street 
LOngacre    5-5978 

CHICAGO,  ILL. 

6040   N.    Pulaski  Rd. 
IRving   8-4064 

HOLLYWOOD,  CALIF. 
6677  Santa  Monica  Blvd. 
HOllywood   4-613  1 


EASTMAN  FILMS 

that  you  should 
specify  for  the 
best  of  motion 
picture  and  tele- 
vision  quality   from 
photography   thru 
release   printing. 


EXHIBITS 


AT    THE     93RD     SMPTE    CONVENTION,     ATLANTIC  CITY, 


Company  Booth 

Mr.     Edword    Willerte  9 

Animation     Equipment    Corp. 
38    Hudson    Street 
New    Rochelle,    N.    Y. 

Mr.    Victor   Jomes  24,  25 

Arriflex    Corp.    of    America 
257    Park   Ave.    South 
New   York    10,    N.    Y. 

Mr.    James    L.    Wossell  29 

Bell   &    Howell   Co. 
7100     McCormick     Rd. 
Chicago   45,    III. 

Mr.     Clifford    Sawyer  34 

Birns   &   Sawyer   Cine   Equipment,    Inc. 
6424    Santa    Monica    Blvd. 
Hollywood    38,    Calif. 

Mr.    Elliott    R.    Kurtz  12 

CBS    Laboratories 
High     Ridge    Road 
Stamford,    Conn. 

Mr.     Lou    Girola  5 

Camera  Equipment  Co. 
315  West  43rd  Street 
New    York    36,    N.    Y. 

Mr.     Paul     Meistrich  17 

Camera    Mart,    Inc. 
1  845    Broadway 
New    York    23,    N.    Y. 

Mr.    George    Kyotow  16 

Canon   Camera   Co.,    Inc. 
30   East  42nd  Street 
New  York   17,  N.  Y. 

Mr.    Herbert  A.    Hollander  23 

ColorTran    Industries 
P.  O.  Box   188 
Burbank,    Calif. 

Mr.    Jules    Leni  4 

Comprehensive  Service  Corp. 
245  West  55th  Street 
New  York  19,  N.  Y. 

Mr.    Stuart    Held  7 

Ehrenreich    Photo-Optical 

Industries    Inc. 
1  1  1    Fifth    Avenue 
New  York  3,   N.   Y. 

Mr.    Manny    Kiner  26 

Elgeet  Optical  Co.,  Inc. 
303    Child    Street 
Rochester    11,    N.    Y. 

Mr.   Edward   B.  Krause  1  4,  1  5 

Filmline    Corp. 
Erna    Street 
Milford,    Conn. 

Mr.    Stephen    G.    Fisher  30 

Oscar    Fisher    Co.,    Inc. 
P.   0.    Box   426 
Newburgh,    N    Y. 

Intern ^tional  Projectionist 


Compon  , 


Mr.     Arthur    Florman 
Florman     &     Babb,     Inc. 
68   West   45th    Street 
New    York    36,    N.    Y. 


Booth 
21,  22 


Mr.    Ralph    T.    Jope 
Hi-Speed  Equipment, 
73    Pond    Street 
Waltham    54,    Mass. 


Inc. 


Mr.     Harry    Teitelbaum 
Hollywood    Film    Co. 
956     N.     Seward     Street 
Hollywood    38,    Calif. 

Mr.  Guenter  Schmidt 
Houston-Schmidt  Ltd. 
1450  O'Connor  Drive 
Toronto    16,    Ont.,    Canada 

Mr.    E.    Werner 
Lipsner-Smith    Corp. 
3475    W.    Touhy    Ave. 
Chicago  45,   III. 

Mr.    Richard    P.    Sullivan 
Logos,    Inc. 

1017    New    Jersey    Ave.,    S.    E. 
Washington    3,    D.    C. 


28 


39,  40 


36 


Company 


Mr.    D.    J.    White 
Magnasync  Corp. 
5546    Satsuma    Ave. 
North    Hollywood,    Calif. 

Mr.    T.    H.    Truesdell 
D.   B.   Milliken  Co. 
131    North    Fifth    Avenue 
Arcadia,    Calif. 

Mr.   Herbert  Pilzer 

Motion    Picture    Enterprises,    Inc. 

Tarrytown    83,    N.    Y. 

Mr.     Walter     Braun 
Paillord     Incorporated 
100  Sixth  Avenue 
New  York   13,   N.  Y. 

Mr.    A.    Potter 

Photographic    Applications,    Inc. 
160    Herricks    Road 
Mineola,    L.    I.,    N.    Y. 

Mr.    A.    M.    Urenovich 
Photo-Sonics,     Inc. 
95-25    Georgia    Ave.,    Suite    201 
Silver  Springs,  Md. 


Booth 


10 


38 


32 


18 


THE  REVOLUTIONARY  XENON  LIGHT  SYSTEM 
FOR  SUPERIOR  MOTION  PICTURE  PROJECTION 

check  these  big  zeiss-ikon 
xenosol  advantages: 

■  COLOR  FIDELITY 

■  LOW  CURRENT  CONSUMPTION 

■  SUPERIOR  QUALITY  PROJECTION 

■  TROUBLE-FREE  CLEAN  OPERATION 

■  IMMEDIATE  STARTING 

ZEISS-IKON  XENOSOL  equipment -for  new  installations  and 
existing  carbon  arc  housings— is  available  in  900  watt,  1,600  watt 
and  2,500  watt  sizes  to  fit  every  theatre's  need. 

For  complete  information:  CINE  ELECTRONIC  SYSTEMS,  INC. 
225  East  46th  Street,  New  York,  New  York.  Phone:  PLaza  8-1561 


April   1963 


11 


Animation  Stands* 

*OXBERRY 


For    Slide-Filmstrip  .  .  . 
For    Full    Animation. 

Available     with     Aerial 
Image    Projector. 

Models    Built   to   tit   all 
requirements  .  .  . 
all    budgets. 

America's    finest    ani- 
mation  studios   use 
only    Oxberry. 


FOR   TECHNICAL   INFORMATION 
AND    BROCHURE  ...  WRITE 

the  ANIMATION  EQUIPMENT  corp. 

DEPT.    P    38    HUDSON    STREET 
NEW    ROCHELLE,    N.    Y. 

West — 7445  Sunset  Blvd.,  Hollywood,  Calif. 

England — 33   Liberty   Lane, 

Addlestone,    Surrey 


You  Name  It... 
S.O.S.  Has  It! 

Everything  from  A   to  Z 

Here,  under  one  roof,  an  entire  building  de- 
voted to  all  your  needs  for  producing  pro- 
cessing, recording,  editing,  lighting  and  show- 
ing motion  picture  films  .  .  .  and  at  WORTH- 
WHILE   SAVINGS    IN     PRICE! 


i 


Amplifiers 

Anamorphic    Lenses 

Animation      Stands, 
Titlers 

Arc    Lamps 

Auricon      Cameras 

Books,     Technical 

Booms,     Micro- 
phones 

Cameras,      Profes- 
sional 

Colortran      Lights 

Dollies,    Cranes, 
-Tripods 

Drive-ln      Theatre 
Equipment 

Film     Magazines 

Film    Printers 

Film    Cleaning 
Machines 

Film     Cabinets 

Film     Editing 
Equipt. 

Film     Lab     Equipt. 

Film    Numbering 
Machines 
•    Film     Processors 

±      Visit  S.O.S.  Booth  No.  1 
^       S.M.P.T.E.  Convention 

S.O.S. 
PHOTO-CINE-OPTICSJNC. 

formerly    S.O.S.    CINEMA    SUPPLY    CORP. 

602    West    52nd    St.,    N.Y.     19— Plaza    7-0440 

Western     Branch:     6331      Holly'd     Blvd., 

Hollywood,      Calif. 


12 


Generators 
Hot     Presses 
Lenses,     All     Sizes 
Lighting      Equipt. 
Marquee      Letters 
Moviola     Editors 
Projection      Equipt. 
Projection      Lamps 
Projector 

Mechanisms 
Rectifiers 
Reels,    Cans,     Film, 

Tape 
Reflectors 
Sound     Cameras 
Soundheads 
Sound   and   Speaker 

Systems 
Stage    Equipmnet 
Stripping    Machines 
Synchronizers, 

Splicers 
Technical     Books 
Theatre     Equipt. 
Viewers,     Sound 

Readers 
Zoom     Lenses,    etc. 


Mr.    Irwin    R.    Sheldon  1  1 

Precision   Cine    Equipment  Corp. 
928-930    East    51st   Street 
Brooklyn    3.    N.   Y. 

Mr.    A.    J.    Briglia  19,  20 

Quick-Set,    Inc. 

8121    N.    Central    Park 

Skokie,   III. 

Mr.    Dominick    J.    Capano  1 

S.  O.  S.  Photo-Cine-Optics,  Inc. 
602    West    52nd    Street 
New   York    19,   N.   Y. 


Mr.   T.  Tanabe 

Export    Section 

Shiba    Electric    Co.,    Ltd. 

Hibiya-Kaikan     Bldg.,    20,    2-chome 

Uchisaiwai-cho,  Chiyoda-ku 

Tokyo,    Japan 

Mr.    David    V.    Hall 

Photolamp    Division 

Sylvania    Electric    Products,    Inc. 

730   Third   Avenue 

New  York    17,   N.   Y. 

Mr.    Fred    Emens 
Wollensak   Division 
Revere   Camera    Co. 
850   Hudson  Avenue 
Rochester   21,    N.    Y. 

Mr.   Walter   Steuer 
Zoomar,  Inc. 
Sea    Cliff    Rd. 
Glen    Cove,    N.    Y. 

Neils   Tuxen 

N.   A.    Philips   Corp. 

100    East   42,    NYC. 

Al     Nathanson 

Camera    Service    Center 

333    West    52,    St.,    NYC. 

George  Vanoni 
Permacel,  Inc. 
New    Brunswick,    N.    J. 

George    Vaughn 

Time  Automated  Mfg.  Co. 

Woodside,    N.    Y. 

Allen   Processors 
Milford,  Conn. 


27 


35 
31 

13 

37 
33 
48 
49 
50 

iP 


PROJECTIONISTS 
PREFER 

ETHYLOID 

Film  Cement  For 
BEST  RESULTS 

Available  from 
Supply  dealers 

FISHER  MFG.  CO. 

1185  Mr.  Read  Blvd. 
Rochester,  N.Y. 


3  NEW  CAMERA  MART  ACCESSORIES 


newGTC-59 

LENS  CLEANER 
&  PROTECTOR 

•  Anti-Fog      •  Anti-Static 

Ideal  for  lenses,  cameras, 
condensors,    reflectors,    optical 
equipment,  etc. 

6  oz.  can  with  Spray  Applicator  $1.65  each 
Case  of  12/  $  1.00  each 

m-hmi)  liquid 

INSULATING  TAPE 
lust  Brush  it  on  Those 
Hard-To-Tape  Places 

Designed  for  use  in  electrical  in- 
stallations, maintenance  and  re- 
pair. Prevents  shorts,  shocks. 

2  oz.  Bottle  $1.65  each    Case  of  12/$1.00  each 

Restores, 
Quiets, 
Lubricates 


cnmzft 


f/zn/ 


'•aiil^ 


Completely  safe  for  sound  pro- 
jectors, amplifiers,  studio  rec- 
ording equipment  and  editing 
equipment.  Non-inflammable. 
Used  for  all  gummy  parts  — 
instantly  cleans  and  deposits  a 
hard  bonded  dry  lubricant. 
2  oz.  Bottle  $1.00  each  Case  of  12/75C  each 
Write  for  complete  literature.  All  Prices  F.O.B.  N.  Y. 


tinman  mum* 

1845   BROADWAY   (at  60th   St.) 
NEW  YORK  23,  NX  •  PLaia  7-6977 


PUCES 
NOT 
HOLDING 


$ 


? 


Film  breaks  are  costly. 
Play  safe  by  using 

JEFRONA 

All-purpose  CEMENT 

Has  greater  adhesive 
qualities.  Don't  take 
our  word  for  it.  Send 
for  FREE  sample  and 
judge  for  yourself. 

Camera  Equipment 
Company,   Inc. 

Visit  SMPTE  Booth — #5 
315  W.  43rd  St.    New  York  36,  N.Y. 

JUdson  6-1420 

6510  Santa  Monica  Blvd.,  Los  Angeles 

51    E.    10th   Ave.,    Hialeah,    Fla. 


International  Projectionist 


April  1963 


SMPTE  Studies  Wide  Range 
Of  Technical  Projection  Subjects 


\  wide  range  of  motion  picture 
and  television  technical  topics  will 
he  discussed  when  scientists  and 
engineers  meet  this  spring  at  the 
Travmore  Hotel  in  Atlantic  City, 
\.  J..  April  21-26.  for  the  93rd 
semiannual  convention  of  the  Society 
of  Motion  Picture  and  Television 
Engineers. 

The  format  of  the  meeting  is  based 
on  these  subject  areas,  handled  b\ 
these  topic  chairmen: 

"Application  of  Motion  Pictures 
and  Television  to  Education"  under 
0.  S.  Knudsen  of  Iowa  State  L  ni- 
versirj . 

"Current     Trends     in     Laboratory 


Send 

for  complete 

information 

NATIONAL  STUDIOS 

42  West  48  Street,  NYC 


You   want   to   project 
a    good    picture? 


Install    a 


Hurley  Screen 


HURLEY    SCREEN    CO.,    INC. 

96-17    Northern    Blvd. 
Corona    68,    New    York 

See  your  theatre  supply  dealer 


Practice  under  John  J.  Kowalak  of 
Movielab,   Inc..   New  York. 

"Instrumentation  and  High-Speed 
Photography"  under  Morton  Sul- 
tanoff  of  Ballistic  Research  Labora- 
tories. Aberdeen.  Md. 

"New  Instrumentation  in  Televi- 
sion under  R.  L.  Pointer  of  Ameri- 
can   Broadcasting   Co.,  New  York. 

"New  Technology  of  8mm  Com- 
mercial Motion  Pictures  under  Dr. 
('.  Loren  Graham.  Eastman  Kodak 
Company,  Rochester.  N.  Y. 

"Recent  Motion  Picture  and  Tele- 
vision  Developments  in  Outer  Space 
rechnology"  under  H.  M.  Gurin. 
RCA  Astro-Electronic  Division  Prin- 
•  eton,    Y   .1. 

I  he  program  will  open  April  22. 
with  a  session  ol  papers  in  the  area 
of  film  processing  and  laboraton 
developments.  The  next  session  will 
cover  8mm  md  16mm  technical  and 
engineerini;  developments. 

Motion  pictures  and  television  in 
outer  space  and  instrumentation  and 
high-speed  photograph)  comprise 
three  «.~M,,n^  on  Tuesday.  Three 
television  sessions  on  Vi  ednesdav  ami 
llunxlav  cover  circuit  development: 
color  and  monochrome  TV,  and 
automation ;  and  motion  pictures  tor 
television,  and  video  tape.  Beginning 
Hiursda)  evening  and  finishing  on 
Iiidav  are  three  sessions  on  motion 
pictures  and  television  in  education. 

iP 

Miss   M.    B.    Reilly  to 

Head   W.   J.   German 

\IA\  YORK  —  Miss  \l.  15.  Reilly, 
associated  with  Jules  Brulatour  and 
the  sale  of  Eastman  kodak  raw  film 
since  I'M),  has  been  elected  president 
ol    \\  .  J.  German,    Inc.   as  the  suc- 


cessor to  the  late  William  J.  German 
who  died  on  the  West  Coast  last 
month. 

Miss  Reilly.  who  is  Mrs.  James  F. 
Burns  in  private  life,  served  as  execu- 
tive secretary  of  the  German  com- 
pany. Her  entrance  into  the  raw  film 
business  preceded  that  of  German  by 
nine  years,  German  having  left 
Kodak  in  1922  to  join  the  Brulatour 
organization.  In  1952  she  and  Ger- 
man joined  to  form  the  German 
(Continued  on  Page  15) 


the  only 

guaranteed 

scratch 

removal 

process 

for  16  and  35  nun  Prints 

•    Originals 

•    Negatives 

RAPIDWELD  for  scratched 
film:    We    remove   scratches 
and  abrasions  from  both 
sides  of  film,  restore 
flexibility,  repair  all 
improper  splices,   and  apply 
our  exclusive   protective 
coating. 

8mm  Service  Now  Available 
"The  Film  Doctors" 

rapid  Film  Technique  Inc. 

37-02   27th   St.,   L.I.C.   1,   N.  Y. 

STillwell    6-4600 

New    Life    For    Old    Film 

Long    Life   For    New    Film 


CREATE   THE    RIGHT   MOOD    EVERY   TIME   WITH   THE 

Major  Mood  Music  Library 

MAJOR  offers  you   a   full   thirty-five   hours  of  mood   music   for 

titles,    bridges,    backgrounds. 

Write    for    Free   Catalogue 

THOMAS  J.  VALENTINO,  INC. 

Established    1932 
150  West  46th  Street  CI  6-4675  New  York  36,   N.  Y. 


International   Projectionist 


April   1963 


13 


PROJECTED  HIGHLIGHTS 


By  Ray  Gallo 


The  93rd  SMPTE  convention  and  Spring  Equipment 
Exhibit  now  going  on  at  the  Hotel  Traymore  in 
Atlantic  City.  N.  J.,  displays  some  unusual  motion  pic- 
tures, highspeed  photography  and  television  instru- 
mentation for  conventional  and  "outer  space"  uses. 
Nearly  every  conceivable  invention  has  been  utilized 
first  for  military  purposes — now  we  use  these  same 
techniques  to  make  civilian  amusements  more  perfect 
and  enjoyable.  For  instance,  take  the  telephone,  the 
radio,  the  phonograph  and  the  latest,  television.  Once 
they  served  the  needs  of  our  national  defense  in  World 
Wars  I  and  II  and  in  between  skirmishes,  and  now 
all  have  been  combined  to  make  film  and  tape  record- 
ing an  integral  part  of  our  sound  and  sight  develop- 
ment to  record  data  and  to  serve  our  generation  in 
developing  a  better  appreciation  of  music  and  photog- 
raphy as  part  of  our  American  culture.  All  this  and 
more  is  well  displayed  in  8mm  -  16mm  -  35mm  -  70mm 
equipment  at  the  SMPTE  exhibit  of  commercial  and 
military  systems  now  available  to  all  branches  of  amuse- 
ment. The  dedicated  scientist  and  engineer  who  works 
quietly  in  the  laboratory  has  made  this  all  possible, 
and  this  week  was  an  active  member  of  the  SMPTE, 
his  work  is  on  display  and  speaks  for  itself.  Among 
the  many  exhibitors  are  firms  such  as  Animation 
Equipment  Corp.,  leaders  in  the  field  of  animations 
instruments:  Arriflex  Corp.  of  America,  distributors 
of  the  Siemens  &  Halske  West  German  16/16  single 
and  double  sound  system  projector:  Camera  Equip- 
ment Co..  headquarter  and  distributors  of  a  complete 
line  of  production,  laboratory  and  studio  equipment: 
S.  0.  S.  Photo-Cine  Optics,  Inc..  America's  department 
store  of  motion  picture  and  television  equipment  for 
all  blanches  of  the  arts;  Camera  Mart  Inc.,  sponsors 
of  the  Annual  Film  Editing  Workshop  Seminar  and 
equipment  rental  firm.  And  there  are  many  other 
interesting  displays.  More  than  60  booths  will  exhibit 
domestic  and  foreign  and  U.  S.  government  develop- 
ments. Jack  H.  Freeman,  sales  vice  president  of  Radi- 
ant Manufacturing  Corp.  just  appointed  Charles  R. 
Horwritz.  formerly  with  Graflex.  district  manager 
of  the  Chicago  projection  screen  firm.  Nicholas  Rei- 
sini,  present  head  of  Cinerama,  another  U.  S.  govern- 
ment development  that  has  given  the  American  mo- 
tion picture  industry  a  real  "shot  in  the  arm"  received 
a  "Congressional  Record"  tribute  by  Senator  Hum- 
phrey for  his  public  spiritedness.  To  demonstrate  how 
America  produces  top  high-grade  furniture  of  the 
Italian  and  French  Provincial  style,  the  New  York  State 
Association  of  Projectionists  will  take  a  tour  through 
Jamestown,  New  York,  furniture  plants  during  their 
50th  anniversary  convention  in  May.  William  J.  Red- 
dick  of  the  W.  J.  German  Inc.  Eastman  Film  Sales 
Agency,  has  been  elevated  to  the  post  of  vice  president. 


Reddick  has  been  one  of  the  important  working  mem- 
bers of  the  SMPTE  since  1952.  Word  comes  from  Rav 
Brian,  business  agent  of  the  Peoria  and  Pekin.  Illi- 
nois local  #434  of  the  IATSE,  projectionist  unit,  that 
he  has  received  an  invitation  to  make  available  some 
of  his  "antique  projectors"  as  permanent  exhibits  for 
the  new  Hollywood  Museum.  This  is  the  outfit  be- 
ing sponsored  by  leaders  of  the  motion  picture  indus- 
try. Arthur  Knight  is  the  curator.  Cinerama.  Cine- 
mascope. Todd-AO  and  many  other  systems  have  made 
wide  screen  projection  extremely  popular — the  screen 
in  Constitution  Hall,  the  National  Geographic  Society, 
in  Washington.  D.  C.  measures  23  feet  wide  by  13 
feet,  8  inches  high.  It  provides  a  throw  of  about 
160  feet  for  lectures,  utilizing  both  16mm  black  and 
color.  35mm  film,  color  and  slides.  If  any  member 
of  the  SMPTE  has  a  book  or  literature  that  explains 
how  sound  motion  pictures  are  made  and  projected, 
it  would  help  William  M.  Burt.  Director  of  Film  Equip- 
ment Exchange  at  the  Dept.  of  the  Army  at  Vallev 
Forge  General  Hospital,  prepare  lectures  for  his  post 
projectionists.  In  fact,  any  films  on  the  subject  would 
be  very  welcome.  You  can  address  Mr.  Burt  at  Pheo- 
nixville,  Pa.  c/o  MEDFV-PT.  Another  person  very 
much  interested  in  receiving  catalogs  and  data  on  ail 
types  of  motion  picture  equipment  is  Jean  Audie  Fabius 
fo  Port  Au  Prince  in  Haiti.  He  is  learning  the  business 
and  can  be  reached  by  mail  c/o  P.  0.  Box  1124. 
Recordak,  another  new  Eastman  product  is  the  world's 
fastest  microfilmer.  It  is  specially  designed  for  high 
speed  recording  of  continuous  forms  produced  bv 
modern  computers  in  high  volume.  New  product  re- 
leases which  have  come  to  our  attention  recently  are 
the  "Edling  Teachers  Console"  for  group  reading  and 
the  "Keystone  View"  both  audio-visual  equipment. 
The  former  is  designed  by  Staples-Hoppmann,  Inc. 
of  Alexandria,  Va.  and  the  latter  by  Mast  Develop- 
ment Co.  of  Davenport.  Iowa.  Dennis  Kealey  of 
Reevesound  Co.,  ( one  of  the  many  units  developed 
by  Hazard  Reeves,  and  now  headed  by  Boyce  Nemic. 
former  executive  secretary  of  SMPTE )  should  be  com- 
plemented for  his  wonderful  work  as  exhibit  chair- 
man at  the  current  SMPTE  convention.  The  job  was 
so  well  done  that  an  upper  section  exhibit  had  to  be 
added  for  extra  displays.  Nathan  D.  Golden,  who  is 
retiring  this  month  as  Director  of  the  Scientific  Photo- 
graphic and  Business  Equipment  Division  of  the  De- 
fense Services  Administration.  U.  S.  Dept.  of  Com- 
merce, is  one  of  the  best  known  and  liked  Washington 
officials  who  has  served  the  motion  picture  industry 
interests  for  so  many  years  and  will  be  missed  by 
SMPTE  members  who  worked  with  him  so  well — Good 
Luck.  Nate,  on  your  future  plans.  Besides  General 
Electric,  Sylvania  will  make  the  theatre  screen  type 
of  television  soon.  In  fact,  plans  are  now  being  formu- 
lated to  install  theatre  TV  screens  from  coast  to  coast 
in  selected  key  spots  as  a  counter  move  against  pay- 
TV  in  the  home.  So  far.  the  many  toll-TV  systems 
tried  out  for  home  subscribers  have  not  been  very  suc- 
cessful, but  to  offset  any  possible  "real  threat"  theatres 
will  now  compete  to  control  their  "friendly  enemy." 

iP 


BRIGHTER   LIGHT 
LONGER   BURNING 
SHARPER   PICTURE 
Free  Test  Samples 


l11Tf**»»»»»'»»n*»'ui»Ti 


(?a>z&Hte 


CARBONS  INC.,  BOONTON,  N.  J. 
Illll'^'--1liiiliii  i  inn  i  -  I 


STEADIER  LIGHT 
LESS  ATTENTION 
PERFECT  COLOR  BALANCE 
Free  Carbon  Chart 


14 


International  Projectionist 


April  1963 


*tf 


•  "LET'S  TWIST  "I 


Yes,  That  Easy  to  Use-No  Tools  Needed 

Just  Twist  The  Stub  In  &  Out  .  .  . 

NO  GRINDING— NO  OIRT 

&  r  s  * 

IF    YOU    ARE    NOT    USING   The 

"Little    Miser"    Carbon    Saver 

YOU  are  losing  several  Hundred  Dollars 

Each  Year! 

4  Sizes  9-10-llm.m.  $3.00  Each 
13.6m.m.  $4.50  Each 

ORDER   Now— Stort   Saving   Money   $$ 
(We   Suggest  3   In   Bach   Projection   Room) 

LOU     WALTERS 

Sales    &   Service   Co. 

MOTION    PICTURE    EQUIPMENT 

EV   8-1550 

4207  Lawnview  Ave.  Dallas  27,  Texas 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSOORFF   CARBON  CORP.    East  McKeesport.  Pa 


Norelco 

projection 
equipment 

Available    from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion      Picture      Equipment      Division 

100  E.  42nd  St.,  New  York  17,  N.Y. 


International   Projectionist 


W.  J.  GERMAN 

from  page  13 
company  which  was  successor  to  J. 
E.    Brulatour.   Inc. 

The  company  also  announced  the 
election  of  Morris  H.  Bergreen.  a 
hoard  member  and  general  counsel. 
to  the  post  of  senior  vice  president. 

It  is  understood  that  Eastman 
Kodak  will  take  over  sales  and  dis- 
tribution of  raw  film  from  the  W.  J. 
German  company  Jan.  1.  1964.  but 
the  German  organization  will  con- 
tinue to  administer  its  other  holdings 
and    enterprises. 

Norelco  Projector 
Gets  Academy  Award 

SANTA  MONICA,  CM. IF.  —  The 
Norelco  Universal  70  35mm.  projec- 
tor received  one  of  the  special  awards 
from  the  Academv  of  Motion  Picture 
\rt>  ami  Sciences  in  recognition  of 
outstanding  technical  achievement 
for  the  showing  of  the  newer  wide 
gauge  tilms.  It  is  the  first  such 
award  in  the  projection  field  since 
1959. 

Accepting  a  plaque  for  the  North 
\merican  Philips  Co.  was  lied  I. 
Pfeiff,  technical  manager  of  the 
motion  picture  equipment  department 
of  the  firm.  Mr.  Pfeiff  has  been 
closelv  associated  with  the  develop- 
ment of  the  70  35  mm.  projection 
system  since  it  first  became  available 
in  L955.  Original!)  designed  and 
developed    through    the    joint    efforts 

ol  the  American  Optical  Co.  and 
l'hilip>.  this  projector  introduced  the 
70mm.  Todd-  M)  process  —  a  1957 
\c -adernv  Ward  winner— into  movie 
theatres.  Jan  Kotte  of  Norelco  was 
commended  as  the  original  designer 
of  this  equipment. 

Today  there  are  more  than  1,50 
installations  of  the  Norelco  Uni- 
versal 70  >5  projector  in  35  states, 
Canada  and  other  countries. 

In  receiv  ing  the  award.  Pfeiff  stres- 
sed that  motion  picture  audiences  the 
world  over  are  enjoying  greater 
claritv  and  better  quality  of  screen 
images  with  less  eye  strain,  thanks  to 
the  wider  films  and  the  award-win- 
ning   Norelco    projection    equipment. 

And  there  are  important  benefits 
to  the  exhibitor.  Pfeiff  pointed  out. 
explaining  that  a  single  70mm.  print 
has  been  played  for  as  many  as  1600 
runs,  film  damage  is  greatly  reduced, 
and  the  Norelco  70/35  Projector  may 
be  converted  in  minutes  for  either  70 
mm.  or  35mm.  operation,  providing 
the  theatre  owner  with  greater  ver- 
satility in  presenting  the  latest  films. 

North  American  Philips  Company, 
Inc.  also  produces  the  new  Norelco 
35mm.   Pulse-Lite  shutterless  projec- 

April    1963 


tor  for  smaller  theatres,  a  35mm. 
projector  for  arc  lamp  operation,  as 
well  as  professional  16  mm.  equip- 
ment. 

Built  primarily  for  70mm.  with 
the  added  convenience  of  35mm.,  the 
Norelco  Universal  70/35  Projector 
enables  audiences  to  see  easily  the 
tiniest  photographic  details  in  such 
current  films  as  "Lawrence  of  Ara- 
bia." '"Mutiny  on  the  Bounty,"  the 
forthcoming  "Cleopatra."  and  many 
more  now  in  production.  il* 

—  THE   ENEMY  — 
HEAT 

A    10    DEGREE   REDUCTION 

iN    HEAT   WILL   TRIPLE 

TRANSFORMER    LIFE. 

ARC   AND   SOUND   SYSTEM 

POWER   SUPPLIES   RUN 

COOLER.    A   MODEL   TO 

REPLACE   ANY    BULB. 

Write 

BROWN  ELECTRONICS 

1717    South    St.,    ALLENTOWN,   PA. 


THE  VERY 
FINEST 


IN 
PRO 


4635  WEST  LAKE  ST.,  CHICAGO,  ILLINOIS 


15 


Century  Announces  JJ-2  Model 
to  Project  70/35mm  fill 


^  NEW  YORK— Century  Projector 
Corp.  has  announced  a  new  Ameri- 
can-made universal  projector  for  pro- 
jection of  70  and  35  mm  films. 

The  new  projector  is  called  the 
Century  JJ-2.  and  according  to 
distribution  vice  president  Frank  E. 
Cahill  Jr..  is  unique  in  design  with 
film  traps  and  film  gates  with  direct 
coupling  to  the  mechanism  and  opti- 
cal sound  reproducer  with  a  Poly 
"V"  motor  drive  belt  to  the  projector 
main  drive  shaft. 

Both  the  film  trap  and  gate  can 
be  easily  removed  for  changing,  in- 
spection and  cleaning  without  dis- 
turbing any  other  units. 

The  Century  designed  water-cell 
and  aperture  plate  are  positioned  in 
the  projector  so  the  film  is  as  close  to 
the  aperture  plate  as  desired  for 
sharper  focus  all  around  the  edges. 
It  is  also  possible  to  "set"  the  film 
gate  to  provide  a  soft  edge  aperture. 
With  these  new  film  traps  and  film 
gates  it  is  possible  to  run  both  70mm 
and    35mm    films    with    ever-so-lisht 


ims 

tensions  for  better  overall  in-focus 
picture.  Film  tensions  can  be  easily 
adjusted  and  set  to  the  desired  posi- 
tions for  optimum  screen  results. 

A  less  complicated  method  has 
been  engineered  into  the  Century 
JJ-2  for  changing  from  the  standard 
24  frames  per  second  to  30  frame 
speed. 

Conversion  kits  are  available  to 
adapt  3-D  Sync  projection  if  and 
when  needed. 

Century's  features  are  incorpor- 
ated in  Century  JJ-2  models  such  as: 
double  rear  shutters;  water-cells; 
separate  70/35mm  Ampex  magnetic 
clusters;  less  gears  and  other  Cen- 
tury refinements.  iP 

New  Theatre  Opens 
In  New  York 

Walter  Reade-Sterling.  Inc.,  has 
opened  a  new  theatre,  the  Continental 
in  Forest  Hills,  N.  Y.  in  the  populous 
and  fast-growing  Borough  of  Queens. 


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2-YEAR  COATING 

GUARANTEED  FIRST  SURFACE 

DICHROIC  REFLECTORS 

They're  a  bargain  because  everything  an  ordinary 
reflector  does  TUFCOLD  does  better  and  longer.  That's 
why  they're  worth  more  yet  actually 

COST  43%  LESS 

based  on  life  expectancy.  So,  since  your  old  reflectors,  by  wasting  power, 
carbons,  and  light,  cost  more  than  new  TUFCOLDS,  replace  them  now. 

THE  STRONG   ELECTRIC   CORPORATION 

31    City  Park  Avenue  •  Toledo  1,  Ohio 


16 


Architect  John  J.  McNamara  de- 
signed the  new  deluxe  600-seat 
motion  picture  theatre.  The  Contin- 
ental is  of  split-level  construction, 
is  believed  to  be  the  first  theatre  in 
the  U.  S.  with  its  own  roof-top  park- 
ing, and  has  a  permanent  art  gallery 
for  the  exhibition  of  works  by  Queens 
artists. 

The  Continental  opened  March  21 
and  it  will  operate  on  a  first-run 
policy.  Its  inaugural  attraction  was 
the  screen  version  of  "The  Balcony" 
starring  Shelley  Winters,  Peter  Falk 
and  Lee  Grant.  Incidentally,  The 
Continental  shared  the  world  pre- 
miere of  "The  Balcony"  with  20 
other  theatres  in  the  greater  New 
York  area. 

Capital  Motion  Supply  Corp.,  of 
New  Y®rk,  supplied  and  installed  the 
specialized  theatre  equipment,  con- 
sisting of  two  Century  projectors 
complete  with  full  Century  transis- 
torized sound  equipment;  Peerless 
Magnarc  arc  lamps,  Kneisley  silicon 
rectifiers,  two  sets  of  Bausch  &  Lomb 
lenses,  and  Neumade  rewind  equip- 
ment. VP 

NEW  ENTRY... 


Kinoshita  offers  the 
70/35  mm  Japanese 
Projector  in  U,  S. 

NEW  YORK  —  Kinoshita  &  Co., 
Ltd.,  USA  will  distribute  in  the 
United  States  the  Japanese  projec- 
tion and  sound  equipment  made  by 
the  Nichion  Co.,  Ltd.,  Tokyo  and 
Osaka. 

The  Pherex  Crown-S  70/35mm 
projection  equipment  was  shown  in 
the  New  York  office  of  the  Kinoshita 
company.  The  Nichion  company's 
managing  director  Nakama  explained 
the  projector. 

The  all  purpose  projector  comes 
with  a  70/35  head  machine,  water 
and  air  cooling:  magnetic  sound- 
head; 35mm  conversion  kit;  Phirex 
optical  soundhead  with  drive  motor; 
two  70  mm  film  pressure  band;  two 
35mm  pressure  band;  exiter  lamp; 
upper  magazine:  lower  magazine; 
70/35  reel;  Super  Prominar  70, 
70mm  projection  lens,  Phirex  pedes- 
tal. 

The  Nichion  company  makes  a 
Cineron  Xenon  lamp  equipment  in 
5kw  and  4kw  power,  and  the  makers 
said  a  life  of  1,500  hours  for  5kw  is 
expected.  iP 

International  Projectionist  April  1963 


New   Film    Equipment 
At  SMPTE  Meeting 

Demonstration*  of  new  camera. 
lighting  projection,  editing  and  TV 
equipment  will  hold  the  stage  at  the 
April  2  1  morning  session  of  the  semi- 
annual convention  of  the  Society  of 
Motion  Picture  and  Television  En- 
gineers at  the  Travmore.  Atlantic 
City,   April  21-26. 

Eight  engineering  committees  will 
meet  during  the  convention.  Commit- 
tees have  been  appointed  by  Dr. 
Deane  R.  Vt  bite,  associate  director  of 
du  Ponts  Photo  Products  research 
laboratory,  who  is  SMPTE  engineer- 
ing vice-president.  Dr.  White  and 
SMPTE  Staff  Engineer  Alex  E.  Alden 
aranged  the  schedule  of  meetings. 

Committee  chairmen  are: 

Laboratory  Practice.  William  D. 
Hedden.  Vive-President,  Calvin  Pro- 
ductions. Inc.  Kansas  Cit)  :  televi- 
sion. William  T.  \\  intringham,  Bell 
Telephone  Laboratories.  Murrav  Mill. 
\.  J.:  lumm  and  <imm  motion  pic- 
tures. Robert  G.  Herbst.  superinten- 
dent <>f  Engineering  Laboratories. 
Bell  &  Howell  Co..  Chicago:  color. 
Dr.  LeRoj  M.  Dealing.  Studio  City. 
Calif.:  film  projection  practice:  C.  E. 
Heppberger.  National  Carbon  Co., 
Chicago;  sound.  J.  L.  Pettus.  RCA. 
Burbank.  Calif.:  instrumentation  and 
high-speed  photography,  Morton  Sul- 
tanoff,  Terminal  Ballistics  Labora- 
tory, Aberdeen  Proving  Ground, 
\ld.:  film  dimensions.  Walter  C. 
Brandsma.  E.  I.  du  Pont  de  Nemours 
8  Co..  Inc..  Parlin.  N.  J. 

Also  meeting  during  the  week  will 
be  committees  planning  subsequent 
convention  papers  programs,  the 
board  of  editors  of  SMPTE's  Journal. 
an  dadministrative  committees. 


BACK  NUMBERS,  ANYONE  ? 

Homer  Neal,  Jr.,  of  Columbus, 
Ohio,  an  IP  subscriber  for  16  years, 
has  a  two-foot  stack  of  back  num- 
bers he  wishes  to  sell.  Interested  per- 
sons should  contact  Neal  direct. 
His   letter   to   IP  follows: 

"Until  a  few  months  ago  I  was 
a  subcriber  to  IP  continuously  since 
1945,  except  for  a  while  in  1951. 
Your  magazine  has  served  me  well 
and  I  value  it.  Now  that  I  no  longer 
have  a  need  for  it,  I  know  that  this 
two-foot  stack  has  value  to  others. 
Would  you  be  kind  enough  to 
mention  in  IP  that  I  would  like  to 
sell    these    for    a    reasonable    offer? 

"Best  wishes  and  kindest  regards," 
HOMER  NEAL,  Jr.  (386) 
867  Wainwright  Drive 
Columbus  24,  Ohio 

International  Projectionist 


NEW  YORK  —  SOS  Photo-Cine- 
Optics.  Inc.  announces  that  Alan  C. 
Macauley  and  Jan  T.  Macauley  to- 
gether recently  acquired  approximate- 
ly 53%  of  the  outstanding  common 
stock  of  the  company.  Eight  years 
ago,  the  Macauleys  opened  an  office 
in  Hollv  wood  and  became  the  first 
representatives  for  SOS  in  the  13 
western  states.  Prior  to  1955,  the 
Macauleys  were  actively  engaged  in 
the  motion  picture  production  bus- 
iness. 

Alan  Macauley  has  become  a  di- 
rector of  the  companj  and  its  new 
president.  Joseph  A.  Tannev.  who  has 
been  president  of  SOS  since  its  found- 
ing 37  years  ago.  has  become  chair- 
man of  the  board.  The  other  new  of- 
ficers of  the  compan)  are:  Dominick 
J.  Capano,  vice  president  and  general 


manager:  William  H.  Allen,  engineer- 
ing vice  president  and  secretary;  and 
Jan  T.  Macauley,  treasurer.  Mr.  Ca- 
pano and  Mr.  Allen  have  each  been 
with  the  company  for  over  25  years. 
Claude  C.  Pitts  has  been  engaged  as 
sales  engineer  with  headquarters  in 
the  Hollywood  office. 

S.  O.  S.  Shows  Auricon 
Camera   Improvements 

NEW  YORK  —  Two  new  improve- 
ments for  the  Auricon  Camera  have 
been  announced  by  S.O.S.  Photo 
Cine  Optics.  These  are  balanced  cine- 
voice  conversion  and  an  improved 
transisto-sound  amplifier  with  an 
exclusive  built-in  limiter.  They  will 
be  demonstrated  at  the  SMPTE  Con- 
\  ention. 


Levine,  Mage  Constructing 
New  York  "Intimate"  Theatre 


\K\\  YORK— Joseph  E.  Levine. 
president  of  Embassj  Picture,  in  as- 
sociation with  James  I.  Mage,  film 
producer  and  exhibitor,  are  construct- 
ing an  intimate  theatre  on  57th  St. 
near    Fifth    Ave. 

The  name  will  be  Festival  Theatre. 
and     it    will    seat    (>()(!    patrons.       The 

Festival  is  scheduled  to  open  June 
I  ■>.  with  the  American  Premiere  of 
Fillini's    "!! '■_."*.    a    Joseph    E.    Levine 


presentation  and  an   Embassy    release. 

Simon  B.  Zelnik.  New  York  archi- 
tect, has  designed  the  Festival  Thea- 
tre, which  is  in  an  existing  building. 

The  facade  will  be  of  colored  Dur- 
anodic  aluminum,  with  a  "'flower- 
box"  arrangement  projecting  from 
the  building  above  the  lobby  en- 
hance, to  make  it  blend  with  the  rich- 
flowing  architecture  of  the  build- 
ing   it   occupies. 


There's    Plenty    for   You   At 

CENTURY! 

.  .  and  from  CENTURY  only 


dramatic,  New  ALL  TRANSISTOR 
sound  systems 


'True    high-fidelity, 

distortion    free. 
'Low    installation    cost, 

minimum    space    needs. 


Increased    reliability, 
less  maintenance. 
No   vacuum    tubes,    no 
photoelectric    cells. 


and  the  only  American-made  70  mm  35 
theatre  projection  systems 


SEE 

YOUR   CENTURY 

DEALER 


.  .  .  for   bigger,    brighter   projection. 


CENTURY  PROJECTOR  CORP. 

New   York    19,    N.    Y. 


April   1963 


17 


vertical  aluminum  screen  in 
a  drive-in  wastes  li^ht  by  re- 
flecting it  up  into  the  sky. 


Projection 
building" 


QJor  maximum  picture  brightness,  an 
aluminum  screen  should  be  tilted  to 
race  the   projection  axis  sauarely. 

Drive-In  Projection    .  .  .  from  page  6 

tilted,  of  course),  the  corresponding  maximum  widths 
are  60  and  70  feet.  Just  imagine  indoor  projection  qual- 
ity on  a  drive-in  screen!  It  is  easily  possible  to  have 
brilliantly  lighted  pictures  in  the  smaller  drive-ins  and 
to  fill  these  theatres  every  night  with  satisfied  patrons. 

Although  we  have  implicitly  specified  the  use  of 
modern  projection  mechanisms,  modern  "fast"  lamps, 
and  coated  "fast"  lenses  for  drive-in  use  in  order  to 
achieve  satisfactory  light  levels,  we  have  purposely 
avoided  being  too  specific  or  dogmatic. 

Slight  departures  from  optimum  lamp  or  lens  speed 
can  usually  be  compensated  by  the  use  of  projector 
shutters  having  the  blades  trimmed  especially  for  drive- 
in  use,  a  small  increase  in  arc  current,  the  elimination 
of  light-wasting  heat  filters  in  favor  of  cold  mirrors, 
the  elimination  of  projector-port  glasses,  the  use  of  a 
more  highly  reflecting  or  slightly  directional  screen 
surface,  etc. 
Lumen   and    Lamp   Calculations 

The  lumens  of  projector  light  output  required  for 
any  particular  footlambert  light  level  (e.g.  4.5  or  10 
f ootlamberts )  may  be  easily  calculated  when  the  width 
of  the  projected  picture  and  the  reflectance  of  the 
screen  are  known.  A  safe  figure  for  the  reflectance 
of  a  good  white-painted  matte  screen  is  0.85,  and  that 
for  the  on-axis  reflectance  of  an  aluminum  screen  is 
1.5.  (These  correspond  to  reflectivities  of  85%  and 
1 50 % ,   respectively . ) 

For  the  reflectance  or  gain  of  an  unusual  screen 
paint  or  surface,  consult  the  manufacturer  of  the  ma- 
terial. 

The  "screen  area"  ( in  square  feet )  needed  in  the 
following  formula  is  found  by  multiplying  the  width 
of  the  projected  picture  by  three-fourths  of  the  width 
of  the  projected  picture.  This  gives  the  projected- 
picture  area  on  the  basis  of  the  standard  Academy 
35-mm  aperture  (0.600"  x  0.825"),  and  should  be  used 
in  this  formula  even  though  a  widescreen  aperture  is 
used  in  actual  projection.  The  reason  for  this  is  simply 
that  lamp  lumen  ratings  are  nearly  always  specified  on 
the  basis  of  the  Academy  aperture.  To  repeat,  just 
ignore  the  fact  that  you  are  using  a  widescreen  aper- 
ture, and  carry  through  the  lumen  calculation  on  the 
basis   of  the   standard   Academy   aperture,   as   directed. 

Area  x  Desired  footlamberts 

Lumens  = 5 j, — : 

screen  retlectance 


When  you  have  thus  calculated  the  required  projector 
light  output  in  lumens  for  the  desired  footlambert 
brightness  level,  you  are  ready  to  select  an  arc  lamp, 
carbon  trim,  and  amperage  to  supply  this  number  of 
lumens.  But  note  that  the  lamp  and  carbon  screen- 
lumen  ratings  published  by  manufacturers  and  trade 
papers  are  for  projectors  without  any  shutter  (that  is, 
not  running ) ,  whereas  the  above  formula  gives  the 
number  of  lumens  with  the  shutter  running.  Screen 
brightness  standards  always  specify  that  the  projector 
be  running,  but  without  film,  when  the  light  is  measured. 

Therefore,  to  correlate  the  lumen  result  you  get  by 
using  the  above  formula  with  manufacturers'  screen- 
lumen  ratings,  multiply  your  result  by  2.  This  is  valid 
because  the  average  projector  shutter  halves  the  amount 
of  light  reaching  the  screen — a  shutter  transmission  of 
50%. 

Lamp,  carbon  trim,  and  arc-current  light  output 
data  in  lumens  are  furnished  by  the  Strong  Electric 
Corp.,  87  City  Park  Ave.,  Toledo  1,  Ohio  for  lamps 
of  their  own  manufacture,  by  the  National  Carbon  Co.. 
30  East  42nd  St.,  New  York  17,  N.  Y.  (Bulletin  No.  3  K 
and  by  the  very  complete  and  trustworthy  tables  in  the 
article  titled  "Screen  Light  Requirements  in  Modern 
Projection,  Part  I"  in  IP  for  June  1959.  Consult  any 
or  all  of  these  sources,  but  reject  all  suspicious  or 
unverified  advertising  claims. 
Example   Shows    How   Simple    It    Is 

Suppose  that  you  are  operating  in  a  small  drive-in 
having  a  60  ft.  white-painted  screen  of  about  0.85  re- 
flectance, (a)  How  many  lumens  of  light  (projector 
running  without  film )  are  needed  to  give  the  drive-in 
minimum  of  4%  footlamberts  of  brightness?  (b)  What 
lamps,  carbon  trims,  and  currents  will  serve  to  give 
this  screen  brightness? 

The  area  of  this  60-ft.  screen    ( on  the  basis  of  the 

Academy   aperture,   as   explained    above )    is  60   x    ( 0.75 

x  60)    =   60  x  45   =   2,700  square  feet.  Therefore: 

2,700  x  4.5 
Lumens  =   ^ 

=  12,150/0.85  =   14,294  lumens 

(a)  This  result  may  be  "rounded  off"  to  14,000 
lumens.  Because  lamp  and  carbon  light  outputs  are 
measured  without  the  projector  shutter  running,  we 
should  select  a  carbon-trim  and  current  combination 
rated  at  approximately  twice  14.000  lumens,  that  is. 
28,000  lumens. 

( b )  Consulting  any  of  the  available  trustworthy 
lamp  and  carbon  tables,  we  find  that  28,000  lumens 
(  approximately )  are  supplied  by  ( 1 )  an  18-inch  mirror 
lamp  burning  11-mm  regular  positives  at  120  amps., 
(2)  by  an  18-inch  mirror  lamp  burning  10-mm  Hitex 
positives  at  125  amps.,  or  (3)  by  an  18-inch  mirror 
lamp  burning  13.6-mm  regular  positives  at  145  amps. 
The  projection  lens  should  be  coated  and  of  f/1.9 — f/1.7 
speed. 

The  accompanying  table  gives  suggested  carbon 
sizes  ( regular  carbons  only  except  for  blown  arcs )  and 
currents  which,  burned  in  modern  large-mirror  lamps 
used  with  projectors  having  f/1.9  or  f/1.7  coated 
lenses,  will  give  4%  and  10  footlamberts  of  brightness 
on  85%  white  and  150%  aluminum  screens.  This  table 
is  intended  to  be  only  suggestive,  but  may  neverthe- 
less be  used  as  a  trustworthy  guide  in  the  correction 
of  the  serious  lighting  deficiencies  which  prevail  in 
far  too  many  of  the  nation's  drive-in  theatres.  Because 
no  account  was  taken  of  side-to-center  screen  light  dis- 
tribution in  the  computation  of  this  table,  it  favors  a 
slightly  brighter-than-minimum-standard  light  level  at  the 
center  of  the  screen,  which  is  all  to  the  good.  iP 

{TO  BE  CONTINUED) 


18 


International  Projectionist 


April  1963 


America's  First  and  Oldest  Motion    Picture    Trade    Journal 

Established  1914 

-  GREATER  AMUSEMENTS  - 

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and  new  methods,  for  exhibitors   and    projectionists    alike. 


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GREATER  AMUSEMENTS  supplies  an  every-theatre  audience  to  the  na- 
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up  with  the  general   news  of  the  industry. 

YOU  NEED  only  one  publication  to  inform  you  about  the  other  side  of 
the  theatre  picture  —  for  $3  a  year,  26  issues,  plus  a  special  introductory 
rate  to  subscribers  to   International    Projectionist. 


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Which  projection  lamps  should  you  be  using?  It  depends  on  one  that  exactly  matches  your  requirements — the  one  that  ■will 
several  factors — size  and  type  of  screen,  length  of  throw,  size  project  ever-so-much  brighter  pictures  in  your  theatre.  Your 
and  shape  of  the  viewing  area.  patrons  will  SEE  the  difference. 

The  complete  line  of  Strong  projection  arc  lamps  includes  the 

WRITE  FOR  LITERATURE 

THE  £%0f&  ELECTRIC    CORPORATION 

\^^  31    CITY  PARK  AVENUE  •  TOLEDO    1,  OHIO 

"The    World's   Largest    Manufacturer    of    P r ojection    Arc  Lamps" 


INTERNATIONAL 


Drive-ins 
Deserve 
Good 
Sound 

Europe's  most 
luxurious  theatre 


MPAA  SCREENING 
ROOM  HAS 
EVERYTHING 

J.  Al  Pratt,  MPO  Local  224  of 
Washington,  DC,  discusses  the  op- 
eration of  his  Century  Projector 
Corp.  70/35mm  projector  with  J. 
William  Garcia,  also  of  the  Wash- 
ington IATSE  local.  Story  on  page  10. 

I 


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MAY 
VOLUME  38 

40c  A  COPY 


1963 
NUMBER     5 

$3.00  A  YEAR 


A  Scene  From  America's  Projector  Carbon  Center... 


Pyrometric  cones  accurately  check  baking  cycles 


"  This  sure-fire  test  is  one  of  the  ways  we 
know  a  projector  carbon  is  perfectly  baked" 


^■k*V^Bk^ 


This  photo  isn't  an  abstract 
rendering  of  an  artist's  idea.  It's 
a  picture  of  one  of  the  many 
important  steps  in  projector 
carbon  production  at  our  Fos- 

tOria,  Ohio,  plant.  Jim  Hoynes 

These  three-sided  figures  are  called  pyromet- 
ric cones.  Because  they  react  in  a  predeter- 
mined way  to  high  temperatures,  we  use  them 
to  help  tell  us  exactly  when  National  projector 
carbons  have  reached  the  end  of  their  baking 
cycle. 

When  one  cone  is  leaning  and  the  other  is 
sagging,  we  know  it's  time  to  remove  the  pro- 


-says  JIM  HOYNES 

National  Carbon  Sales  Engineer 

jector  carbon  material  from  the  baking  furnaces 
for  cutting  and  further  processing. 

Every  step  of  the  baking  cycle,  of  course,  is 
constantly  watched  over  by  standard  heat 
checking  instruments,  such  as  thermocouples 
and  highly  sensitive  optical  devices. 

In  the  manufacture  of  top  quality  projector 
carbons  it  is  very  important  to  know  the  precise 
moment  they  reach  the  peak  point  in  baking. 
That's  why  at  Fostoria  we  take  every  precau- 
tion in  quality  control  to  provide  theatres  with 
perfectly  baked  carbons.  Only  the  finest  quality 
can  give  movie  audiences  the  finest  screen  light- 
ing—indoors or  outdoors. 


Contact 
Mr.  National  Carbon 


UNION 
CARBIDE 


"National"  and  "Union  Carbide"  are  registered  trade-marks  for  products  of 

NATIONAL  CARBON  COMPANY 

Division  of  Union  Carbide  Corporation  •  270  Park  Avenue  •  New  York  17,  N.  Y. 
In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL 

PROJECTIONIST 

Including  a  special  Audio-Visual  section  relat- 
ing to  the  operation  and  maintenance  of  A-V 
equipment  in  the  educational  and  industrial 
fields. 


Volume  38  May,  1963  No.  5 


FRANK   W.    COOLEY,   JR. 
Editor   and    Publisher 

RAY  GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment   Editor 


RAY   GALLO   ASSOCIATES 

National  Advertising  Representatives 

545  Fifth  Avenue,   New  York    17,   N.   Y. 

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IN   THIS   ISSUE 

Good  Sound  for  Dnve-lns 
By  ROBERT  A.   MITCHELL 

The  Cover  Story 

Exhibitors   Must   Remodel 

Core-Lite    Evaluations 

New    Century    Projector 

News  Notes — Technical  Hints — Miscellaneous  Notes 


10 
12 
13 
14 


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copyrighted  1963  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 


MONTHLY  CHAT 

Craftsman   Taken   for  Granted 

The  projection  booth  houses  the  most  expensive  the- 
atre equipment,  and  the  projectionist  rules  over  this 
costly  inventory. 

The  theatre  owner  or  the  house  manager  have  not 
the  skills  to  adjust  and  clean  the  booth  equipment.  That's 
up  to  the  projectionist.  The  good  craftsman  treats  his 
machines  like  a  baby,  because  he  knows  he  is  in  charge 
of  costly  machines,  and  that  dust  grinds  down  his 
delicate  parts  in  his  equipment. 

Electrical  contacts  get  dirty,  so  he  cleans  them. 

The  lamp  reflectors  get  pitted  and  grimy  and  the 
lamphouse  must  be  cleaned. 

\nd  the  same  goes  for  the  sound  system  with  its 
electrical  contacts. 

The  booth  craftsman  has  the  responsibility  for  the 
inventory  of  spare  parts  and  outside  service,  if  needed 
to  repair  the  equipment  under  his  care. 

To  insure  proper  and  smooth  operation,  all  projectors 
should  be  kept  clean  and  well  lubricated  and  in  proper 
adjustment.  Cleaning  should  be  carried  out  as  a  daily 
routine.  Otherwise  the  hardening  of  lubricating  oils 
under  the  heat  of  the  projection  lamp  will  bake  onto 
any  surface,  and  that  is  difficult  to  remove. 

The  modern  projector  requires  very  few  adjustments, 
but  the  daily  routines  of  the  hoothmen  are  an  important 
chore.  They  include  the  timing  of  the  shutter,  focusing 
the  lens,  proper  tension  of  the  film  path  and  other  parts 
of  the  projector. 

The  condition  of  the  projector  and  soundhead 
sprocket  teeth  should  be  carefully  inspected  at  frequent 
intervals,  and  if  there  is  any  visible  undercutting  of  a 
small  notch  at  the  base  on  the  contact  side  of  the  teeth, 
the  sprocket  should  be  replaced,  as  any  teeth  consider- 
ablj  reduced  in  width  at  their  base  will  cause  an  unsteady 
picture  and  will  damage  the  sprocket  holes  in  the  film. 

The  lamp  optical  surfaces  should  he  kept  clean  and 
a  regular  routine  before  the  day's  program  begins  is  a 
must,  feed  relay  contact  points  should  be  checked  regu- 
larly,  and  cleaned  with  fine  sandpaper  if  any  sparking 
is  visible.  Persistent  arcing  across  the  relay  points  is 
the  warning  sign  that  the  resistor  bridging  has  de- 
teriorated and  should  be  replaced.  If  the  relay  contact 
is  faulty  then  noise  gets  in  the  sound  system.  This  calls 
for  cleaning  the  relay  points  and  adjusting  the  tension, 
and  in  extreme  cases  for  installation  of  filter  condensers 
connected  with  either  across  the  points  or  from  each 
point  to  ground.  All  moving  parts  of  the  lamphouse 
should  be  carefully  lubricated. 

Rectifiers  of  the  bulb  type  requires  these  procedures: 
keep  the  rectifier  clean  and  dry,  clean  the  bulb  and 
socket  contacts  periodically  with  00  sandpaper,  keep 
all  connections  tight,  pre-test  all  spare  bulbs. 

The  soundheads  must  be  kept  clean,  and  the  face 
of  the  photocell  must  be  optically  clean;  any  oil  should 
be  thoroughly  cleaned  off  or  it  will  attack  the  rubber 
insulation  of  the  photocell  wiring. 

Those  are  a  few  fundamentals  which  projectionists 
well  know,  they  are  cited  here  because  the  theatre  owner 
or  the  house  manager  does  not  have  the  skills  and  know- 
how  that  the  projectionist  has  to  know  about  this  com- 
plex machinery  before  he  goes  on  the  job. 
(Continued  on  Page  9) 


International  Projectionist         May  1963 


Volume  38 


INTERNATIONAL   PROJECTIONIST 


May,  1963 


Number  5 


Good  Sound  for  Drive-ins 

The  Paramount  Consideration  in  motion-picture 
pi  ejection  is  the  quality  of  the  picture  itself — its  bright- 
ness, uniformity  and  color  of  illumination,  clarity  of 
focus,  reproduction  of  photographic  contrasts,  and  rock- 
steadiness.  The  movies  are  primarily  a  visual  art;  and 
the  picture  on  the  screen  is  what  the  public  pays  for 
at  the  boxoffice.  Nevertheless,  the  quality  of  the  sound 
reproduction  must  in  no  wise  be  relegated  to  second 
place,  for  sound  and  picture  go  together  to  create  a  life- 
like illusion  and  to  tell  a  story  in  audiovisual  terms. 
Bad  sound  reminds  the  audience  that  it  is  only  looking 
at  a  picture. 

There  are  important  technical  differences  between 
the  reproduction  of  sound  in  a  drive-in,  with  its  hun- 
dreds or  thousands  of  separate  speakers,  and  the  pro- 
duction of  high-fidelity  sound  in  a  conventional  the- 
atre. The  management  of  an  indoor  theatre  need  con- 
sider only  one  "focal  point"  of  sound  reproduction, 
namely,  the  stage-speaker  installation  which  provides 
the  sound  for  every  patron  in  the  house.  The  system  of 
amplifiers  is  built  up  to  match  a  speaker  assembly  having 
a  power  capacity  and  sound-radiating  characteristic  best 


^Matching 
transformer 


Speaker 

voice 

coil 


i — wmrm 


Rheostat 
volume  control 


Ivlatching 
transformer 


Speaker 

voice 

coil 


Potentiometer 
volume  control 
for  constant  impedi 


ance 


/ 


FIG.  3 — A  potentiometer  is  preferred  to  a  simple  rheostat 
for  an  in-car  speaker  volume  control  because  of  its  constant 
impedance  and  load  on  the  sound  amplifier  regardless  of 
volume  setting. 


4 


By  Robert  A.  Mitchell 


suited  to  the  size  and  acoustic  properties  of  that  partic- 
ular auditorium. 
Adequate  Sound    Power   Essential 

A  drive-in  theatre  must  not  only  have  amplifiers  of 
sufficient  power  output  to  provide  an  adequately  strong 
sound  signal  to  all  of  its  many  hundreds  of  individual 
in-car  speakers,  but  should  also  have  a  reserve  power 
which  will  minimize  the  "power  robbing"  effects  of 
accidental  variations  in  electrical  load.  Such  variations 
are  certain  to  occur  when  the  speaker  volume  controls 
are  of  the  simple  rheostat,  rather  than  the  constant- 
impedance  potentiometer  type. 

The  in-car  speakers  purchased  for  drive-in  use  should 
be  large  enough  to  give  an  acceptably  strong  reproduc- 
tion of  the  low-frequency  bass  tones  in  the  sound.  In  no 
case  should  the  cone  of  the  speaker  be  under  4  inches  in 
diameter:  5-inch  cones  are  recommended,  though  the 
quality  of  the  sound  reproduction  by  a  speaker  does  not 
depend  on  the  size  of  the  cone  alone.  It  should  always 
be  remembered  that  the  smallest,  cheapest  speakers  re- 
quire more  watts  of  power  from  the  amplifiers  to  give 
the  same  volume  of  sound,  that  they  usually  give  "tinny," 
distorted  sound,  and  that  they  are  constructed  in  such  a 
way  that  it  is  impossible  to  re-cone  or  otherwise  repair 
them.  Speakers  of  good  quality  are  more  economical 
in  the  long  run,  and  certainly  satisfy  the  patrons  in  a  way 
that  cheap  speakers  can  never  do. 

Assuming  an  average  consumption  of  0.25  watt  by 
each  speaker  and  associated  matching  transformer  (mea- 
sured at  1000  cycles,  90  per  cent  soundtrack  modula- 
tion), the  following  amplifier  power  outputs  should  be 
provided  for  drive-ins  of  various  sizes: 

400-car  theatres,  100  watts. 

500-car  theatres,  125  watts. 

600-car  theatres,  150  watts. 

800-car  theatres,  200  watts. 

1000-car  theatres,  250  watts. 

1200-car  theatres,  300  watts. 

1500-car  theatres,  375  watts. 

2000-car  theatres,  500  watts. 

In  addition  to  the  amplifiers  needed  to  supply  the 
minimum  required  audio  power,  there  should  be  at  least 
one  stand-by  amplifier  of  25  watts  output  for  emergency 
use.  An  amplifier  of  this  size  is  large  enough  to  serve 
100  cars  ( 1  to  4  ramps)  in  the  event  of  amplifier  break- 
down. 

Each  drive-in  speaker  is  powered  through  a  matching 
transformer  usually  located  in  the  junction  box  on  the 
speaker  post.  Accidental  short  circuits  in  the  speakers 
or  their  connecting  cords  cannot,  therefore,  render  other 
speakers  on  the  same  ramp  inoperative. 
Leeway   in    Impedance   Matching 

The  way  the  speaker-matching  transformers  are  inter- 
connected depends  upon  the  impedances  of  their  primary 
(input)   windings  and  upon  the  output  impedance  of  the 

International   Projectionist        May   1963 


power  amplifier  serving  them.  The  total  impedance  of  a 
number  of  individual  ""loads'"  is  greater  than  the  in- 
dividual impedances  when  thev  are  connected  in  series. 
less  when  thev    are  connected    in   parallel. 

For  the  maximum  transfer  of  power,  the  two  im- 
pedances, source  and  load,  must  be  of  equal  ohmic  value. 
If  the  "'load  resistance"  has  a  value  (ohms)  substantially 
lower  than  the  impedance  of  the  source,  the  current 
(amperes)  flowing  through  the  circuit  will  be  relative!) 
great,  but  the  load  voltage  drop  will  be  small.  Electrical 
power  in  watts  is  found  by  multiplying  amps,  by  volts: 
and  in  a  case  like  this  flow  voltage,  high  amperage  I . 
the  watts  of  power  expended  in  the  load  resistance  will 
be  small. 

On  the  other  hand,  if  the  load  resistance  has  an 
ohmic  value  substantial!)  higher  than  the  impedance  of 
the  source,  the  voltage  drop  across  it  will  be  great,  but 
the  amount  of  current  able  to  force  its  way  through  the 
high  resistance  will  be  small.  Here  we  have  a  case  of 
high  voltage  and  low  amperage:  and  the  mathematical 
product  of  amps,  times  volts  equals  watts  will  again  be 
small. 

When  the  ohmic  resistances  are  equal,  however,  the 
watts  of  power  obtained  bv  multiplying  the  voltage  drop 
across  the  load  bv  the  current  in  the  circuit  will  be  at  a 
maximum.  Matched  impedances  accordingly  permit  the 
maximum  transfer  of  power.  \everthele>s.  quite  a  bit 
of  leeway  in  the  match  of  ohmic  values  is  allowable.  One 
impedance  mav  have  a  resistance  I  ohms  i  as  low  as  one- 
half  that  of  the  other,  or  as  high  as  twice  that  of  the 
other,  and  the  power  loss  through  mismatch  will  amount 
to  only  about  10  per  cent.  This  is  well  below  the  maxi- 
mum power  variation  which  can  be  detected  in  sound 
reproduction  bv    the  human  ear. 

Rad  mismatches  between  sound-circuit  components 
have  a  much  more  serious  effect  than  the  mere  loss  of 
audio  power,  however.  The  impedance  of  transformer 
coils  and  the  voice  coils  of  speakers  varies  with  the 
frequency  of  the  audio  signal.  When  we  say,  for  ex- 
ample, that  a  certain  speaker  has  an  impedance  of  6 
ohms,  we  mean  that  the  voice  coil  of  the  speaker  has 
a  resistance  of  6  ohms  to  AC  at  a  frequency  of  1000 
cycles  per  second.  The  resistance  will  be  less  than  6 
ohms  at  lower  frequencies,  and  higher  than  6  ohms  at 
higher  frequencies.  Now.  if  a  speaker  or  its  matching 
transformer  is  improperly  matched  to  the  output  trans- 
former of  the  amplifier,  the  frequency  characteristics 
of  the  system  will  be  altered.  The  result  is  distorted, 
unnatural  sound. 

It  is  generallv  believed  that  the  human  ear  is  unable 
to  detect  harmonic  distortions  in  sound  reproduction 
amounting  to  less  than  5  per  cent  of  the  total  power 
output.  Distortion  is  much  reduced  in  certain  amplifier 
circuits  bv  the  use  of  deliberate  impedance  mismatching! 
For  example,  it  has  been  found  that  second-harmonic 
distortion  is  greatly  reduced  by  making  the  impedance 
of  a  load  resistance  about  twice  as  great  as  the  plate 
resistance   of  the   tube  supplying   it. 

By  a  thoughtful  choice  of  impedances  and  by  the 
use  of  degenerative  feedback,  modern  theatre  amplifiers 
have  an  overall  distortion  factor  of  less  than  2  or  3 
per  cent.  A  drive-in  theatre  absolutely  requires  ampli- 
fiers of  the  same  high  quality  as  those  used  in  indoor 
theatres. 

Speakers   Weak    Link    in    Chain 

Drive-in  sound  seldom  equals  the  high  quality  of 
good  indoor-theatre  sound  even  when  the  very  best 
amplifiers  are  used.  As  in   all  sound   systems  from  the 

International  Projectionist        May   1963 


jwtmr 

#1 


jwwwwv- 


*3 


Impedances  in  series: 

R=  Rx+  Rz  +  R3+  . . . 


R\  Rz  /?3 

Impedances  in  parallel: 


FIG.  1 — When  impedances  (resistors,  transformer  wind- 
ings, speaker  voice  coils,  etc.)  are  connected  in  series,  the 
total  impedance  in  ohms  is  the  simple  sum  of  the  indi- 
vidual impedances.  When  connected  in  parallel,  however, 
the  ohmic  values  of  individual  impedances  are  each  divided 
into  1,  the  quotients  added,  and  the  sum  divided  into  1. 
Thus  three  25-ohm  resistors  in  series  have  a  total  impedance 
of  25  +  25  +  25  =  75  ohms;  in  parallel,  1/(1/25  +  1/25 
+   1/25)  =  1/0.12  =  8.33  ohms. 

mightiest  public-address  system  to  the  smallest  home 
"hi-fi."  the  speaker,  itself,  is  the  weakest  link  in  the 
chain  of  sound  components.  Even  when  the  amplifiers 
introduce  no  perceptible  distortion  in  the  reproduction, 
the  sound  may  have  a  slightly  unnatural  quality.  This 
is  due  entirely  to  distortions  arising  in  the  speaker. 
Because  a  loudspeaker  is  a  mechanical  device  as  well 
as  an  electrical  one,  it  is  extremely  difficult  to  design 
one  which  perfectly  translates  the  fluctuating  sound- 
signal    currents    into    air-pressure    waves. 

It  is  therefore  unfair  to  expect  an  "unbaffled"  drive- 
in  speaker  having  a  4-,  5-,  or  6-inch  cone,  and  no 
separate  "woofer,"  or  low-frequency  unit,  to  equal  the 
sound-reproducing  quality  of  a  large  and  carefully  engi- 
neered indoor-theatre  speaker  assembly.  But  in  spite  of 
these  unavoidable  physical  limitations,  we  have  a  right 
to  expect  acceptably  good  sound  in  the  drive-in  theatre. 

In-car  speakers  should  be  specially  designed  and 
constructed  for  drive-in  use.  Cheaply  priced  speakers 
"adapted"  from  units  originally  designed  for  small 
radio  sets  or  phonographs  are  unsatisfactory  in  almost 
every  respect.  Drive-in  speakers  should  be  completely 
waterproof  in  order  to  resist  the  effects  of  the  rain 
and  damp  weather  to  which  they  will  be  exposed.  They 
must  also  be  reasonably  heat-resistant — the  summer 
sun  is  sometimes  hot  enough  to  fry  an  egg!  And  last 
but  not  least  is  ruggedness.  In-car  speaker  units  must 
hold  up  under  the  rough  usage  that  the  rank  and  file 
of  the  public   accords   to  property  not   its   own. 

Spare   Speakers   and   Amplifiers 

Prospective  purchasers  of  in-car  speakers  should 
make  certain  that  the  units  they  intend  to  buy  have 
constant   electrical   impedance   regardless   of   the   setting 


250 


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20     30     40     50      60     70      80     90     100 

Ohms  load  resistance  for  10-ohm  source 

FIG.  2 — This  graph  reveals  that  the  maximum  transfer  of 
electrical  power  (watts)  is  achieved  when  "source"  and 
"load"  impedances  are  the  same.  It  is  here  assumed  that 
the  source  impedance  is  10  ohms;  the  number  of  watts 
developed  when  different  load  resistors  are  used  may  be 
read  from  the  curve.  Thus  a  10-ohm  load  resistor  gives  a 
maximum  power  of  250  watts;  both  5-ohm  and  20-ohm 
loads  (one-half  and  twice  the  source  impedance,  respec- 
tively,) give  221.77  watts. 

of  the  volume  control.  In  other  words,  the  volume 
control  should  be  of  the  potentiometer,  not  the  simple 
rheostat,  type.  If  a  simple  dead-end  reostat  is  used, 
the  load  on  the  amplifiers  will  increase  with  the  number 
of  speakers  turned  up  loud,  thus  causing  annoying 
variations  in  system  output  and,  worse,  in  the  fre- 
quency characteristics  of  the  system. 

No  matter  how  much  is  done  to  prevent  it,  a  num- 
ber of  speakers  are  damaged  and  stolen  every  season. 
Deliberate  theft  cannot  be  prevented  if  the  larceny-minded 
patron  brings  along  a  pair  of  wire  cutters.  Accidental 
severance  of  speaker  cords  can  nevertheless  be  min- 
imized by  using  waterproof  coiled  cord  instead  of  the 
ordinary  flexible  cord  which  may  loop  down  and  catch 
on  automobile  bumpers  and  door  handles. 

A  number  of  spare  in-car  speakers  are  an  absolute 
necessity  to  avoid  losing  parking  spaces  when  some- 
thing goes  wrong  with  speakers  previously  installed. 
To  play  it  safe,  there  should  be  at  least  one  spare  speaker 
for  every  hundred  speaker  posts.  The  projectionist  must 
also  have  a  spare  speaker  known  to  be  in  perfect  work- 
ing order  for  his  own  use  in  checking  ramp  and  junc- 
tion-box circuits — this  in  addition  to  the  permanently 
installed   projection-room   monitor    speaker. 

We  do  not  believe  that  it  is  desirable  to  complicate 
the  sound  wiring  to  the  extent  of  having  a  separate 
on-off  switch  for  each  and  every  ramp,  together  with 
loading  resistors  to  preserve  system  impedance;  but  it 
is  certainly  necessary  to  provide  switching  for  each 
individual   power  amplifier. 

The  most  convenient  arrangement  is  a  plug-in  switch- 
board having  one  heavy-duty  plug  for  the  output  term- 


inals of  each  amplifier.  If,  for  example,  there  are  four 
amplifiers,  there  must  be  four  output  plugs,  each  supply- 
ing audio  power  to  one-fourth  of  the  drive-in.  The  plug 
arrangement  permits  very  rapid  replacement  of  an  ailing 
amplifier  with  an  emergency  stand-by  amplifier  of  the 
same  type  and  power  output.  (Two  other  plugs  must  also 
be  provided  for  each  power  amplifier,  one  for  the 
current  which  operates  the  amplifier,  and  the  other  for 
the  sound  input  from  the  preceding  driver  or  voltage- 
gain   stage.) 

Even  though  the  plug-in  arrangement  is  preferable 
for  drive-ins  in  which  all  the  equipment  is  removed  at 
the  end  of  the  season  and  re-installed  at  the  opening  of 
the  next  one,  permanently  wired  emergency  amplifiers 
connected  through  a  main  switchboard  are  recommended 
both  for  indoor  theatres  and  for  those  drive-ins  in 
southern  climates  which  operate  the  year  around. 

The  presence  of  a  spare  power  amplifier  in  good 
working  condition  does  much  to  reduce  the  projectionist's 
worries,  to  prevent  ticket  refunds  because  of  sound  loss, 
and  to  allow  repairs  to  the  sound  system  to  be  made  in  a 
careful,  unhurried  manner  in  the  daytime  instead  of 
under  stress  and  the  pressure  of  time  while  a  show  is  in 
progress. 
Sound   Service   Indispensable 

The  services  of  a  good  sound-maintenance  organiza- 
tion are  a  "must"  because  the  projectionist,  already 
burdened  with  the  duties  involved  in  his  work,  cannot 
rightly  be  expected  to  jeopardize  the  condition  of  films 
and  equipment  or  the  presentation  of  the  show  to 
"double"  as  a  sound  engineer.  Sensitive  electrical  ad- 
justments in  amplifier  circuitry,  the  correction  of  noise 
and  distortions  arising  from  electrical,  optical,  or  mech- 
anical causes,  and  the  balancing  of  amplifier  outputs  are 
not  normally  a  part  of  the  projectionist's  job. 

It  is  nevertheless  quite  proper  for  the  projectionist 
to  familiarize  himself  with  the  types  of  vacuum  tubes 
used  in  his  system,  and  with  the  locations  of  their 
sockets  in  the  rectifier  and  amplifier  units.  A  full  com- 
plement of  all  rectifier  and  amplifier  tubes,  together 
with  soundhead  photocells  and  exciting  lamps,  should 
be  stored  in  the  supply  cabinets  ready  for  instant  use. 
And  do  not  forget  spare  fuses! 

It  is  very  doubtful  that  frequent  or  routine  sand- 
papering or  burnishing  of  vacuum-tube  prongs  is  at  all 
necessary.  The  prongs  of  tubes  are  made  of  a  plated 
alloy  which  does  not  corrode.  If  the  prongs  are  wiped 
clean  when  the  tubes  are  inserted  into  their  sockets, 
and  if  the  socket  contacts  are  sufficiently  tight  to  begin 
with,  the  amplifier  tubes  can  be  left  alone  during  the 
season — except,  of  course,  for  the  testing  and  replace- 
ment of  the  few  tubes  which  may  go  bad  or  be  sus- 
pected of  defects. 

If  at  any  time  the  tubes  are  removed  from  an  ampli- 
fier chassis  for  the  purpose  of  cleaning  it,  cover  the 
prong  holes  of  the  tube  sockets  with  strips  of  mask- 
ing tape  or  "Scotch"  tape  to  prevent  dust  and  dirt  from 
going  inside  the  chassis  through  the  holes. 
Big    Power  Tubes   Have  Shortest   Life 

Transistorized  preamplifiers  and  voltage-gain  "driv- 
ers" eliminate  tube  troubles  and  filament  ("A")  circuits 
from  the  first  two  stages  of  the  system,  and  also  re- 
duce hum  and  distortion  due  to  "microphonic"  and 
gassy  tubes. 

The  power  amplifiers,  on  the  other  hand,  usually 
employ  vacuum  tubes  to  provide  the  audio  power  (watts) 
required  by  a  large  number  of  in-car  speakers.  Power- 
gain  tubes  are  larger  and  more  expensive  than  voltage- 
gain  tubes,  and  they  get  rather  hot  in  operation.  They 
are  more  likely  to  deteriorate  and  cause  distortion  than 

International  Projectionist        May   1963 


are  the  voltage-gain  tubes.  But  the  faint  bluish  glow 
sometime-  seen  in  power  tubes,  and  which  flickers  with 
the  varying  le\el  of  the  sound  being  reproduced,  is  en- 
tiieU  normal  and  does  not  necessarib  indicate  exces- 
sive  "gassines9. 

Except  for  the  replacement  of  noisj  volume-control 
potentiometers,  damaged  in-car  speakers  cannot  ordinar- 
ill\  be  repaired  in  the  theatre,  but  must  be  sent  to  a  com- 
panj  specializing  in  speaker  re-coning,  i  Write  to  the 
manufacturer  or  to  his  distributor  for  advice  before 
\ou  need  work  done!  i  V  torn  or  punctured  cone  mended 
with  a  patch  of  adhesive  tape  cut  from  a  plastic  Band-  \'u\ 
will  work  temporarily,  but  it  maj  distort  the  sound  b\ 
weakening  certain  frequencies  and  overemphasizing 
others. 

\ll  speaker-post  junction  boxes  should  be  brushed  out 
clean  at  the  beginning  of  the  season  when  the  speakers 
are  connected,  and  again  whenever  damaged  speakers 
are  replaced.  \  weatherproof  junction  box  of  respon- 
sible manufacturer  is  not  likeb  to  admit  enough  dust 
during  the  3-to-5-month  drive-in  season  to  require  mid- 
season  cleaning.  Naturally,  a  "spot  check"  is  a  good 
idea  after  a  sandstorm  or  a  spell  of  high  winds  which 
mav  stir  up  clouds  of  dust! 
120   V    Dangerous   in   Junction    Boxes 

\lo>t  junction  boxes  are  fitted  with  small  lights 
which  permit  the  patron  to  locate  the  speakers  easily 
for  removal  and  replacement  on  the  hangers.  Some 
boxes  also  have  additional  lamps  for  signalling  con- 
cession attendant-.  Ml  of  these  lamps  are  ideally  sup- 
plied 1>\  a  2-wire  system  COmpletelj  independent  of 
the  sound  circuitry,  but   in  practice  it  is  usual  to  have 


a  common-ground  3-wire  system.  Une  of  the  three  wires 
is  the  "live"  power  wire  for  the  post  lamps,  the  second 
is  for  the  sound,  and  is  connected  to  the  speaker  trans- 
formers, while  the  third  wire  is  the  common  ground 
shared  by  both  the  lights  and  speakers. 

It  is  recommended  that  30-volt  post  lamps  be  used 
when  the  3-wire  system  is  employed.  A  pressure  of  120 
volts  presents  a  hazard  which  would  become  positively 
dangerous  in  the  event  that  the  "earthed"  ground  be- 
comes accidentia  disconnected  or  electrically  weakened. 
A  patron  handling  a  speaker  case  or  other  conductor 
connected  to  the  common-ground  wire  might  then  re- 
ceive a  shock,  or  be  seriously  injured  if  he  happens  to 
be  standing  on  wet  earth. 

It  is  undeniably  a  time-consuming  job  to  check  all 
of  the  speakers  in  a  1000-or-2000-car  drive-in.  Such  a 
check  cannot  be  made  every  day  without  the  help  of  a 
special  crew  :  but  we  do  suggest  that  such  a  check  be 
made  once  a  week,  if  possible,  and  all  defective  speakers 
replaced  from  the  stock  of  spares.  Phonograph  records 
of  good  quality  can  be  played  in  the  projection  building 
to  furnish  sound  during  the  time  it  takes  to  inspect 
the  speakers. 

The  care  and  servicing  of  the  projector  soundhead 
units  is.  of  course,  exactb  the  same  in  a  drive-in  as  in  a 
conventional  theatre.  The  soundheads  may  need  more 
frequent  cleaning  because  of  the  presence  of  gritty  dust 
in  the  air;  but  in-drafts  which  sweep  dust-laden  air  over 
the  projectors  can  be  minimized  b\  using  ground  and 
polished  optical  glass  in  the  projector  ports,  and  a  good 
grade  of  plate  glass  in  the  observation  ports.  iP 


2»WE  PROVED BYTEST...BYFARTHE BEST 

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HERE   ARE   THE   FACTS 


SUPER  CINEX  ...  The  masterpiece 
of  the  most  experienced  projection  lamp 
designer.  No  other  lamp  has  even  re- 
motely approached  its  perfection  from 
every  point  of  view — mechanically,  elec- 
trically, optically,  hydraulically  or  its  fine 
air-conditioned  system.  Its  durability  and 
stamina  have  been  proved.  More  and  more 
fine  theatres  and  drive-ins  are  re-equip- 
ping with  Ashcraft  Super  Cinex  daily  due 
to  their  fine  reputation  for  perfect  screen 
light  and  service.  Current  range  with  1  3.6 
mm  carbon,    125-165  amperes. 


CORE-LITE  ...  the  latest  and  most 
phenomenal  producer  of  white  light  at 
lowest  possible  operating  cost  in  the  fam- 
ily of  Great  Ashcraft  Arc  Lamps.  Same  arc 
burner  and  arc  controls  as  the  SUPER- 
CINEX.  Same  quality  and  built-in  reliabil- 
ity. The  lamp  is  optically  designed  to  give 
greater  white  light  distribution  at  less  cost 
for  carbons  and  electricity.  There  is  none 
better— anywhere!  70-1  10  amp. 


CINEX  35/70  SPECIAL  ..  .The 

Great  of  the  Ashcraft  Arc  Lamps  is  a  modi- 
fied Super  Cinex.  Like  the  Super  Cinex  no 
third   element   or   relay   lens   is  necessary 
regardless  whether  35  mm  or  70  mm  film 
is  being   projected.  Uses  a   13.6  mm 
high  intensity  positive  carbon  at 
current  ranges  between  1  25  and 
1  40  amperes. 


RECTIFIER  ...THE  SPECIAL  CORE- 
LITE  7  2  PHASE  HIGH  REACTANCE 

RcCTIrltR  .  .  .  designed  for  the  require- 
ments of  the  Core-Lite  lamp,  this  rectifier  will 
give  the  best  results.  Low  reactance  6  phase 
rectifiers  should  not  be  used.  Certain  motor  gen- 
erators, but  not  all,  are  acceptable.  The  specia 
Core-Lite  S/1212  rectifier  will  give  you  long, 
excellent  service  with  an  absolute  minimum  of 
expense.  Other  Ashcraft  rectifiers  available  for 
every  power  need.  The  cost  is  no  more  than  for 
inferior  rectifiers. 


SOLD  EVERYWHERE  IN  THE  UNITED  STATES  BY  LEADING  RECOGNIZED  THEATRE  SUPPLY  DEALERS 

;.S.  ASHCRAFT  MFG.  CO.,  INC.  •  36-32  38th  STREET-  LONG  ISLAND  CITY  1,  N.Y. 


eun  \Tio.\AL  Projectionist 


May  1963 


FRANKLY,  YOU'RE  DOING  JUST  THAT,  if  you're  buying  top-quality  negatives-and  "economizing"  on  prints.  Fact 
is:  to  do  its  job,  a  crisp,  clear  negative  must  have  top-quality  prints.  Otherwise,  your  message  falls  flat  and 
you've  wasted  negative  and  print  costs.  Moral:  Go  Eastman  all  the  way-negative  and  print-stock.  And  in  the 
case  of  questions  -  production,  processing,  projection  -  always  get  in  touch  with  Eastman  Technical  Service. 


I 


losing  dollars? 


IE 


For  further  information,  please  write  or  phone:  Motion  Picture  Film  Department, 
EASTMAN  KODAK  COMPANY,  Rochester  4,  N.  Y.  Or-for  the  purchase  of  film: 
W.  J.  German,  Inc.  Agents  for  the  sale  and  distribution  of  Eastman  Professional 
Film  for  Motion  Pictures  and  TV,  Fort  Lee,  N.J.,  Chicago,  III.,  Hollywood,  Calif. 


EA^TlvllAlSj  FILM 


The  Cover  Story: 

Century  Projectors  at  MPAA 

This  classically  beautiful  private  screening  room  is  in  the  offices  of  the  Mo- 
tion Picture  Association  of  America  in  Washington,  where  under  Eric  Johnston 
the  American  motion  picture  industry  is  represented  to  the  world,  and  where 
many  pictures  are  evaluated  as  to  their  effect,  and  chances  of  success,  in  the 
world  market.  The  projection  room  is  equipped  with  Century  Projector  Corp.  s 
70/35  projector,  staffed  by  the  MPO  Local  224  gentlemen  featured  on  the  front 
cover.  This  screening  room  entertains  the  leaders  of  the  motion  picture  industry, 
government  officials,  as  well  as  diplomats  from  all  over  the  world. 

The  Motion  Picture  Association  of 
America,  Inc.'s  screening  room  in 
Washington,  D.  C.  is  one  of  the  out- 
standing screening  rooms  in  the  world 
— in  fact,  those  who  have  visited  this 
exquisite  room  come  away  with  the 
feeling  that  they  have  enjoyed  Ameri- 
ca's pastime  (movies)  in  the  atmos- 
phere of  a  beautiful  living  room. 

As  for  motion  picture  presentation 
facilities,  the  MPAA  projection  booth 
has  everything  from  16mm  to  70mm 
equipment. 

The  new  Century  American-made 
70/35mm  projectors  as  well  as  the 
Century  multiple  6-4-1  channel  All- 
Transistor  sound  equipment  was  sup- 
plied and  installed  by  H.  C.  Dusman 
of  the  firm  of  J.  F.  Dusman  Co.  of 
Baltimore,  Md.,  established  in  1912. 
The  Dusman  Co.  has  been  a  Century 
dealer  for  over  35  years.  In  addition  to 
the  70/35mm  equipment,  auxiliary  in- 
terlocks for  3D  or  separate  sound  heads 
were  installed,  which  makes  this  room 
unique  in  every  respect. 

J.  Al  Pratt,  consulting  projection 
engineer,  member  of  Local  224  MPO, 
was  in  direct  charge  of  the  installation 
completed    March    15,    1963.  iP 

10 


J.  Al  Pratt,  member  of  Local  224 
M.P.O.  congratulating  H.  C.  Dusman 
of  J.  F.  Dusman  Co.,  Century's  Balti- 
more dealer  who  sold  and  installed 
the  Century  70/35mm  projectors  and 
the  All-Transistor  6-4-1  channel  sound 
equipment. 

EDITORIAL 

from  page  3 
The  projectionist  in  the  smaller 
and  late-run  theatres  has  to  struggle 
with  damaged  film,  because  the  ex- 
changes don't  carefully  inspect  the 
film  that  goes  out  to  theatres. 

The  craftsman  in  run-down  the- 
atres struggles  with  worn-out  pro- 
jectors, lamp  houses  and  sound  sys- 
tems. 

It's  a  fine  tribute  to  the  projec- 
tionist that  many  film  theatre  patrons 
see  tolerable  pictures,  and  that's  due 
to  the  craftsman's  skills  and  know- 
how  about  wet-nursing  these  worn- 
out  projectors,  lamps,  sound  system 
and  rectifiers.  iS8 


Ernest  Lang,  secretary  of  Local  306  and  treasurer  of  the  Projectionist  Square 
Club,  New  York,  was  presented  with  a  Gold  Card  by  the  Club  recently.  Photo 
shows  Mr.  Lang,  Harry  Apsel,  president  of  Projectionist  Square  Club,  pre- 
senting the  Gold  Card  to  Lang;  Steve  DTnzillo  and  Harry  Garfman,  Local 
306  business  agents  for  New  York  and  Brooklyn,  and  Izzy  Schwartz,  secre- 
tary of  Projectionists  Square  Club. 

International   Projectionist        May    1963 


Investment  Opportunity 


You  are  looking  at  a  part  of  your  employee  benefit  pro- 
gram. It's  part  of  your  neighbors',  too.  And  your  suppliers' 
and  your  customers'  and  your  competitors'.  It  is  there  for 
all  Americans  to  enjoy. 

A  healthy  economy  is  a  bulwark  of  the  freedom  it  sym- 
bolizes— and  of  our  freedom  to  enjoy  it. 

American  businessmen  like  you  can  protect  the  invest- 
ment you  have  in  this  benefit  program  by  promoting  the 
Treasury's  Payroll  Savings  Plan  for  U.S.  Savings  Bonds. 
It  makes  for  a  strong  America  and  a  sound  America.  And 
it  engenders  a  sense  of  thrift  and  independence  and  con- 
servation that  helps  us  all  to  fathom  the  real  significance 


of  monuments  like  that  set  in  the  beautiful  Black  Hills. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll — you 
are  investing  in  the  most  precious  of  America's  natural 
resources.  In  the  vastnesses  of  its  mountains  and  plains 
and  coasts  that  offer  physical  and  spiritual  recreation  to  us 
and  our  children.  You  are  investing  in  the  heritage  and  the 
future  of  America.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  to  the 
Treasury  Department,  U.S.  Savings  Bonds  Division, 
Washington  25,  D.C. 


:      in  your  plant... promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS     || 

The  V.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism,  The  Advertising  Council  and  this  magazine, 

INTERNATIONAL  PROJECTIONIST 


HEYER-SHULTZ 
UNBREAKABLE    METAL  REFLECTORS 


TOP  SCREEN 
ILLUMINATION 

WILL  NOT 
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FACTORY 

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Theatre  Supply  Deafer 


Manufactured  by 

HEYER-SHULTZ,  Inc.   cedar  s,„vC,  N.  j. 


How  electrical  noise  is  produced  .  •  . 
calculated  . . .  measured  . . .  controlled 


Here  are  the  basic  facts  about  electrical  noise  —  how  it  originates 
in  circuits  .  .  .  what  terms  describe  it  .  .  .  how  to  measure  it  .  .  . 
how  to  design  circuits  to  minimize  its  undesirable  effects.  The 
physical  nature  of  the  various  sources  of  noise  are  clearly  de- 
scribed, including  such  sources  as  thermal  agitation  or  resistance 
noise  .  .  .  shot  noise  in  vacuum  tubes  and  semiconductor  junctions 
.  .  .  noise  from  spontaneous  emission  of  electromagnetic  radiation 
.  .  .  and  noise  in  gas  discharges.  This  practical  book  also  explains 
auxiliary  mathematical  techniques,  and  discusses  the  relation  of 
signal  and  noise  in  various  types  of  communication  systems.  For 
ease  in  use,  the  simple  tuned  circuit  associated  with  a  device  for 
measuring  average  power  is  made  the  basic  tool  for  analyzing 
noise. 


ELECTRICAL 


270  pages,  6x9 
105  illustrations 
$10.00 


By  WILLIAM   R.   BENNETT 

Data  Communications  Consultant,  Bell  Telephone  Laboratories,  Inc. 


Each  chapter  in  this  helpful  book  begins  in 
a  simple,  practical  manner  and  works  toward 
more  complicated  examples.  For  example,  prop- 
erties of  thermal  noise  and  its  relation  to  black- 
body  radiation  are  deduced  from  basic  laws 
of  thermodynamics  and  statistical  mechanics. 
You  also  will  find  a  clear  treatment  of  elemen- 
tary quantum  mechanics  in  discussions  of  the 
maser  and  of  noise  in  semiconductors.  And,  in 
describing  noise  properties  of  various  devices, 
the  book  fills  in  your  working  background  with 
basic  facts  on  junction  diodes  —  transistors  — 
gas  discharge  tubes— klystrons— traveling  wave 
amplifiers— and  others.  Both  independent  and 
dependent  noise   sources  are   analyzed. 

In  addition  to  the  standard  theory  of  noise 
figure  and  its  significance,  a  treatment  is  given 
of  the  more  comprehensive  Haus-Adler  theory 
of  noise  measure.  Throughout,  the  book  stresses 
the  universality  of  noise-like  phenomena.  Noise 
formulas  for  diodes  and  transistors;  noise  gen- 
eration to  meet  specifications;  design  of  ampli- 
fiers for  minimum  noise  effects— these  and  many 
other  topics  "are  covered.  A  comprehensive  re- 
view of  noise  in  the  various  methods  of  signal 
transmission  such  as  amplitude  modulation  .  .  . 
frequency  modulation  .  .  .  and  the  different 
kinds  of  pulse  modulation  is  included. 

12 


CONTENTS 

1.  General  Properties  of  Noise 

2.  Thermal  Noise 

3.  Distribution  of  Magnitudes  in  Noise  Sources 

4.  Noise  in  Vacuum  Tubes 

5.  Noise  in   Semiconductors 

6.  Noise  in  Electromagnetic  Radiation 

7.  Noise-generating  Equipment 

8.  Noise  Measurements  and  Techniques 

9.  Design  of  Low-noise   Equipment 

10.  Application    of    Fourier    Analysis    to    Noise 
Problems 

11.  Noise  in  Communication  Systems 

INTERNATIONAL  PROJECTIONIST 

Post  Office  Box  6174 

Minneapolis  24,  Minnesota 

Please  send  me  a  copy  of  "Electrical  Noise" 

by   William   R.   Bennett.   (I   enclose  $10.00.) 

Name 

Address 

City  &  State ,. 


CONSTANT  FLIGHT  .  . 

Exhibitors  Must 
Remodel  Theatres, 
Walters  Says 

DALLAS  — Lou  Walters  of  Lou 
Walters  Sales  &  Service  here,  con- 
stantly emphasizes  the  need  for  many 
exhibitors  to  remodel  and  refurbish 
their  theatres  and  install  new  equip- 
ment. 

"You  have  to  spend  money  to  make 
money,"  Walters  said.  "How  many 
times  have  we  heard  this?  Yet,  we  do 
not  heed  this  good  advice.  We  hear 
exhibitors  complain  every  day  about 
bad  business,  when  they  could  help 
themselves  considerably  at  the  box- 
office. 

"A  great  deal  of  the  equipment 
most  theatres  are  using  is  old,  worn- 
out  and  obsolete.  This  not  only  is 
true  in  the  projection  room,  but  the 
seats  and  carpets  as  well,  and  the 
general  appearance  of  the  theatre  is 
run-down. 

"There  is  nothing  wrong  with  most 
good  pictures  but  that  better  projec- 
tion would  add  to  the  boxoffice  take. 
Pictures  that  are  poorly  projected 
with  obsolete  equipment  don't  do  the 
theatre  any  good.  The  customers  soon 
find  a  theatre  with  up-to-date  and 
modern  equipment." 

There  is  no  question,  Walters  said, 
that  70mm  pictures  are  the  best  pro- 
jection. "The  sooner  the  theatre  own- 
ers realize  this  and  equip  the  projec- 
tion room  with  70mm  projectors, 
the  sooner  they  will  reap  the  bene- 
fits. We  know  the  producers  have, 
in  many  csaes,  put  the  same  picture 
on  35mm  prints,  but  this  is  partly  the 
fault    of   the   theatre    owner   for   not 


Lou  Walters 


International   Projectionist        May   1963 


having  equipped  his  theatre  or  the- 
atres to  run  70mm  prints." 

"' I  here  is,"  he  said,  "a  difference 
r  in  the  two  projected  pictures  and 
there  is  also  a  difference  in  good 
projection  and  better  projection. 
Main  advantages  are  to  be  had  in 
the  installation  of  70mm  equipment 
for  the  indoor  theatre  such  as  mag- 
netic sound  reproduction  which  is 
considered  the  best  and.  too.  he  gets 
the  benefit  of  the  surround  speakers. 
I  here  is  also  a  big  advantage  for 
the  drive-in  theatres  with  their  large 
screens  and  long  throw.  That  advant- 
age i?  light,  which  is  so  badh  needed 
in  the  drive-in  theatre.  The  70mm 
projectors  will  improve  the  projec- 
tion not  only  in  increased  light  but 
also  with  a  sharper  and  steadier  pic- 
ture.'" 

Walters  also  sa\s  it  is  possible  now 
because  of  recent  changes  of  the  loan 
rules  in  the  Small  Business  Adminis- 
tration enabling  motion  picture  the- 
atre- to  lift  low  interest  mone\  sim- 
|)l\  bj  applying  to  their  local  bank, 
which  will  handle  all  necessary  ap- 
plication paper  work  for  them.  With 
this  money,  the)  can  then  re-equip 
and   refurbish  their  theatres. 

Walters  Sale-  \  Service  last  year 
moved  to  a  new  location.  1207  Lawn- 
view  We.,  Dallas  27.  The  company, 
he  said,  has  received  dealer  appoint- 
ments   from    even    manufacturer    to 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING   DEVICES 

VALLEN,  Inc. 

AKRON  4,  OHIO 


—  THE   ENEMY  — 
HEAT 

A    10   DEGREE   REDUCTION 

iN    HEAT  WILL  TRIPLE 

TRANSFORMER    LIFE. 

ARC  AND   SOUND   SYSTEM 

POWER   SUPPLIES   RUN 

COOLER.   A  MODEL  TO 

REPLACE   ANY   BULB. 

Write 

BROWN  ELECTRONICS 

1717   South   St.,   ALLENTOWN,   PA. 


which  it  has  applied,  including  Nor- 
elco.  Strom;  and  Diamond  carbon. 

iP 

Brightness  Gains  for 

Philadelphia  Theatre 

PHILADELPHIA— Evaluations  of 
a  recent  installation  of  the  C.  S.  Ash- 
craft  Manufacturing  Co.'s  Core-Lite 
Lamps  in  the  Stanley  Warner  cir- 
cuit s  Logan  Theatre  here  showed 
marked  screen  brightness  gains,  said 
Henry  Eberle.  the  circuit's  chief 
sound   engineer.    Philadelphia   zone. 

The  new  lamps  were  installed  by 
the  Stanle\  \^  arner  Service  Dept.. 
and  are  being  sold  throughout  the 
countrv  1>\  National  Theatre  Supplv 
Co. 

Eberle  said  readings  indicated  an 
average  increase  of  20'  «  more  light 
on  the  theatre's  16.!!  ft.  by  38  ft. 
screen.  A  gain  of  35%  in  side  light- 
ing was  recorded. 

In  addition  to  the  increased  screen 
brightness,  Eberle  said  the  lamps  cost 
less  to  operate  than  the  ones  that 
were  removed.  He  said  carbon  con- 
sumption records  kept  by  Logan  pro- 
jectionist William  Singer  I  1ATSE  Lo- 
cal 307).  show  a  2595  savings  on 
carbon  costs,  despite  the  fact  that  the 
Core  Lite  uses  larger  carbons  than 
the  Super  Powers,  which  were  re- 
moved. 

The  Core-Lites  are  being  operated 
on  80  amperes  of  current  supplied  In 
motor  generator. 

Carbon  trims  used  are  11mm  x 
17'L."  positive  rotating  and  .">  16x0" 
negative,  and  have  \  ielded  an  operat- 
ing cost-per-hour  figure  of  26c.  This 
compares  to  a  34c  cost-per-hour  fig- 
ure for  the  old  lamps. 

Suggested  current  range  for  the 
Core-Lite  is  75  to  110  amperes. 

Eberle  said  the  <>0  ampere  operat- 
ing level  had  proven  highlv  satisfac- 
tory   for  the  Logan's  requirements. 

I  he  theatre  is  equipped  with  Sim- 
plex projectors  using  Kollmorgan 
1.5"  back-up  lenses  and  Kollmorgan 
F  1.9's  up  front  for  CinemaScope. 
Bausch  \  Lomb  E  1.8's  are  used  for 
standard  35mm  presentations.  Screen 
brightness  increases  cited  apply  to 
the  C-Scope  setup. 

Eberle  said  the  Core-Lites  met  all 
the  claims  of  Ashcraft  and  NTS.  and 
were  well  suited  for  a  medium-sized 
theatre  such  as  the  Logan. 

Ashcraft  attributes  the  absence  of 
brown  and  blue  rays  with  Core-Lite 
to  the  lamps  ability  to  completely 
cover  the  aperture  with  pure  white 
light  only.  Magnification  of  the  car- 
bon core  makes  possible  the  high  per- 
centage of  white  light  distribution 
and  the  elimination  of  brown,  yellow, 
and  red  rays  of  the  hard  rim  or  shell 
of  the  carbon.  iP 


PROJECTIONISTS 
PREFER 

ETHYLOID 

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BEST  RESULTS 

Available  from 
Supply  dealers 

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1185  Mr.  Read  Blvd. 
Rochester,  N.Y. 


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YOU  are  losing  several  Hundred  Dollars 

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ORDER   Now— Start  Saving    Money  $$ 

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LOU     WALTERS 

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EV   8-1550 

4207  Lawnvlcw  Ave.  Dallas  27,  Texas 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport,  Pa 


International  Projectionist        May  1963 


13 


CHRISTIE 

since    1  a  a  a   ® 


Also  200  ofher  Models  of  Power  Supplies 
and  Battery  Chargers.  Write  for  Catalog. 

CHRISTIE  ELECTRIC  CORP. 

341 6     W.  67th  St.,  Los  Angeles  43,  Calif. 


Norelco 

projection 
equipment 


Available    from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion      Picture      Equipment      Division 

100  E.  42nd  St.,  New  York  17,  N.Y. 


n»»JMWBI«*JlillBI».M«fTC 


BRIGHTER   LIGHT 
LONGER   BURNING 
SHARPER   PICTURE 


NEW  CENTURY 
70/35  PROJECTOR 

A  new  model  70/35  projector  has 
been  announced  by  the  Century  Pro- 
jector Corp.,  New  York.  A  further 
development  of  the  Century  JJ-Z,  it 
has  been  designed,  according  to 
Frank  E.  Cahill,  Jr.,  vice  president  in 
charge  of  distribution,  to  embody  all 
that  is  desired  by  American  stand- 
ards as  well  as  by  experienced  Ameri- 
can projectionists  and  service  engi- 
neers. Features  of  the  new  projector 
cited  in  the  announcement  are  unique 
designs  of  the  film  traps  and  film 
gates  (70mm  and  35mm),  and  the 
direct  coupling  of  the  mechanism  and 
the  optical  sound  reproducer  in  con- 
junction with  a  poly  "V"  motor 
drive  belt  to  the  projector  main  drive 
shaft. 

Accompanying  photographs  show 
the  new  mechanism  as  well  as  the  new 
70mm  film  trap,  the  new  curved  film 
gate  and  the  70mm  sprocket  pad  as- 


Century  JJ-2  mechanism  with  new 
70mm  trap  and  gate  mounted. 

sembly.  Both  the  film  trap  and  gate  can 
be  easily  and  quickly  removed  from  the 
projector  for  inspection,  cleaning  and 
changing  to  35mm,  without  disturb- 
ing any  other  units.  The  new  projec- 
tor has  been  tested  in  actual  theatre 
operation  by  competent  projection- 
ists. 

The  film  gate  has  solid  hardened, 
polished  heavy-duty  steel  runners  for 
longer  life.  The  Century-designed 
watercell  and  aperture  plate  are  po- 
sitioned in  the  projector  to  allow  the 
film  to  come  as  close  to  the  aperture 
plate   as  desired  for  sharp  focus  all 


mmwwwiv*i*rmT*>i*wT¥' 


around  the  edges.  It  is  also  possible 
to  "set"  the  film  gate  to  provide  a 
soft  edge  aperture  focus  if  so  desired. 
These  same  designs  are  also  in- 
corporated in  the  35mm  film  trap 
and  film  gate  for  sharper  pictures, 
less  film  wear  and  for  fast  and  easy 


The  70mm  film  trap,  gate  and  (bot- 
tom)  intermittent  pad  assembly. 

removal  from  the  projector  when 
changing  to  70mm  films.  With  these 
new  film  traps  and  film  gates,  it  is 
possible  to  run  both  70mm  and 
35mm  films  with  extremely  light  ten- 
sions ( feather  touch )  ;  even  with 
buckled  films,  tensions  are  held  to  a 
minimum,  it  is  pointed  out.  Film  ten- 
sions can  be  readily  adjusted  and  set 
to  desired  positions  for  optimum 
screen  results. 

In  addition,  a  method  has  been  en- 
gineered into  these  projectors  for 
changing  from  the  standard  24 
frames  per  second  to  30-frame  speed 
without  extra  motor  or  change  of 
parts.  Transfer  is  made  by  slipping 
the  new  multiple  "V"  belt  over  to 
the  proper  pulley,  which  is  already 
mounted  in  place. 

Provisions  also  have  been  included 
to  adapt  3-D  synchronous  projection 
and  synchronized  separate  sound  re- 
producers if  needed.  Conversion  kits 
are  available. 

The  new  design  retains  such  Cen- 
tury features  as  double  rear  shutters, 
watercells,  dual  purpose  sprockets 
(70mm-35mm)  and  pad  roller  arms, 
separate  70mm  and  35mm  Ampex 
magnetic  clusters,  simplified  thread- 
ing, unit  construction  of  vertical  and 
shutter  shaft  assemblies;  absence  of 
oil  baths  except  for  the  intermit- 
tent movement,  and  separate  7/16 
and  5/16  magazine  spindles  for  all 
reels.  iP 


OVtCUHC 


&Vt6o*t& 


Free  Test  Samples 


CARBONS  INC.,  BOONTON,  N.  J. 


STEADIER  LIGHT 
LESS  ATTENTION 
PERFECT  COLOR  BALANCE 
Free  Carbon  Chart 


14 


International   Projectionist        May    1963 


» AUTHORITATIVE 
» COMPREHENSIVE 
» PRACTICAL 


Acclaimed  by  leading  technicians  in 
the  industry  as  the  most  comprehen- 
sive and  down-to-earth  handbook  pub- 
lished to  date  on  the  subject  of  motion 
picture  projection.  Ideally  suited  for 
study  and  reference  by  your  opera- 
tors. 


ROBERT  A.  MITCHELL'S 


MANUAL  OF  PRACTICAL  PROJECTION 


HANDY    5'/2"    X    8!'2"    SIZE 


450     PAGES 


ILLU  STRATED 


CROSS      INDEXED      FOR      EASY      REFERENCE 


*  Here  is  one  of  the  most  help- 
ful works  ever  published  for 
the  motion  picture  projection- 
ist. A  handsomely  bound  and 
profusely  illustrated  compila- 
tion of  the  BEST  of  the  Robert 
A.  Mitchell  articles  that  have 
appeared  in  "International 
Projectionis  t,"  revised, 
brought  up  to  date. 


*  The  author  covers  clearly 
and  thoroughly  every  aspect  of 
motion  picture  projection,  pre- 
senting his  material  in  easily 
understood  language — not  too 
technical,  yet  technically  ac- 
curate. The  Manual  is  divided 
in  8  sections  and  contains  30 
chapters  —  a  valuable  refer- 
ence work  no  progressive  pro- 
jectionist should  be  without. 


J 


SECTION      HEADINGS 


(1)  Film;  (2)  The  Projector;  (3)  Projection-Optics,  Screens;  (4)  The  Arc  Lamp; 
(5)  General  Projection  Practice;  (6)  Motors,  Generators,  and  Rectifiers;  (7) 
Sound    Reproduction   Systems;    (8)    Projection   of  Color  and   3-D   Films,   Formulas. 


ORDER  YOUR  COPY  TODAY  *  USE  THIS  HANDY  FORM 


INTERNATIONAL     PROJECTIONIST 
Post    Office    Box    6174 
Minneapolis  24,    Minnesota 

Gentlemen:   please   send    me    copy    (copies   of    ROBERT    A.    MITCHELL'S    MANUAL    OF 

PRACTICAL    PROJECTION.    Enclosed    is    my    check    (or    money-order)    for   $ 


NAME 


ADDRESS 


CITY     ZONE 


STATE 


$6.oo 


per    copy 
including    postage 


WHY  PAY  25% 
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OPERATING   COSTS 

Here's  why: 

-k  Burns  a  20-inch  (not  just  a  17'/2")  black  11  mm.  positive  carbon 
at  85  amperes,  consuming  only  7  inches  per  hour,  insuring  VA 
hours'  operation  at  only  15.7c  per  hour.  Projects  about 

10%  MORE  SNOW  WHITE  LIGHT 
than  lamps  burning  0  mm.  copper  coated  carbons  at  70  amperes, 
which  costs  23c  per  hour. 

*  OBTAINS  SCREEN  UNIFORMITIES  OF  UP  TO  100% 

*  FULL  18-INCH  DIAMETER  REFLECTOR. 

An  Optical  System  Acknowledged  To  Have  No  Peer  In  Efficiency. 

ic  Both  positive  and  negative  drive  motors  are  Bodine  geared 
head— the  finest.  Each  motor  has  a  separate  feed  control. 


ELECTRIC  CORPORATION 

31  City  Park  Avenue  •  Toledo  1,  Ohio 

The  World's  Largest  Manufacturer 
of  Carbon  Arc  Lamps 

ALWAYS  FIRST 

with  new  and  efficient  developments. 


INTERNATIONAL 


Testing    in   the    XeTRON    Division    of   Carbons,    Inc,:    Story   on    Page   4 


ary  of  Congress 
Order  livision  (o368X) 
Washington  25,  D.C» 


JUNE 
VOLUME  38 

40c  A  COPY 


1963 
NUMBER  6 

$3.00  A  YEAR 


WHY  PAY  25% 
MORE  FOR 
PROJECTION 
LAMPS  AND 
RECTIFIERS? 


SAVE  BIG  MONEY 

PROOF: 

(See  any  published  list  prices  of  all  makes) 
on 


LOW  CURRENT  •  HIGH  INTENSITY 

PROJECTION    LAMPS 
AND  BI-POWR  RECTIFIER 


BY  FAR  THE  LOWEST  IN  COST 

and    having    every    desirable 
feature,    is 

WORTH  MANY  TIMES  THE  PRICE 


YOU  GET  MORE  LIGHT 
AND  RADICALLY  CUT 
OPERATING    COSTS 

Here's  why: 

-k  Burns  a  20-inch  (not  just  a  17'/2")  black  11  mm.  positive  carbon 
at  85  amperes,  consuming  only  7  inches  per  hour,  insuring  2V2 
hours'  operation  at  only  15.7c  per  hour.  Projects  about 

,  .    .  10%  MORE  SNOW  WHITE  LIGHT 
than  lamps  burning  8  mm.  copper  coated  carbons  at  70  amperes, 
which  costs  23c  per  hour. 

*  OBTAINS  SCREEN  UNIFORMITIES  OF  UP  TO  100% 

*  FULL  18-INCH  DIAMETER  REFLECTOR. 

An  Optical  System  Acknowledged  To  Have  No  Peer  In  Efficiency. 

*  Both  positive  and  negative  drive  motors  are  Bodine  geared 
head— the  finest.  Each  motor  has  a  separate  feed  control. 


ELECTRIC  CORPORATION 

31  City  Pork  Avenue  •  Toledo  1,  Ohio 

The  World's  Largest  Manufacturer 
of  Carbon  Arc  Lamps 

ALWAYS  FIRST 

with  new  and  efficient  developments. 


i  i 


INTERNATIONAL 

PROJECTIONIST 

Including  a  special  Audio-Visual  section  relat- 
ing to  the  operation  and  maintenance  of  A-V 
equipment  in  the  educational  and  industrial 
fields. 


Volume  38 


June,   1963 


No.  6 


FRANK   W.    COOLEY,    JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO   ASSOCIATES 

National  Advertising  Representatives 

545  Fifth  Avenue,   New  York    17,   N.   Y. 

Telephone    Murrayhill    7-7746 

(Area   Code   212) 


IN   THIS   ISSUE 

XeTRON    Lamp    System  4 

Xenon    Projection    Lamps  6 

By   ROBERT  A.    MITCHELL 

New    South    Carolina    Theatre  12 

London's  Empire  Theatre  1' 

News  Notes — Technical  Hints — Miscellaneous  Notes 


MONTHLY  CHAT 

CLEAN  EQUIPMENT  MINIMIZES 
TROUBLE 

The  clean  equipment  minimizes  extra  work,  as  the 
projection  craftsman  well  knows! 

Electrical  devices,  unlike  wine,  do  not  improve  with 
age.  One  of  the  essentials  of  electrical  circuits  is  to 
maintain  the  flow  of  electrical  energy  in  the  circuits,  and 
if  permitted  to  stray  by  dust  or  dirt,  only  trouble  will 
result. 

Only  a  routine  cleaning  of  the  electrical  contacts  can 
avoid  extraneous  interferences  in  the  sound  system.  A 
surge  of  noise  at  the  inopportune  time  will  ruin  the  finest 
picture,  and  the  same  holds  good  for  faulty  projection. 

If  the  craftsman  has  years  of  experience,  he  knows 
that  dirt  or  dust  allowed  to  collect  on  his  equipment 
means  trouble  ahead,  and  wasted  time  at  an  inconvenient 
time.  The  \eteran  craftsman  is  not  a  philanthropist.  He 
can  be  selfish,  knowing  that  such  painstaking  methods  for 
cleaning  his  equipment  means  he  doesn't  have  to  work  so 
hard   at  sen  icing   dirt]    machines. 


Atmosphere  and   Oxidation 

\tmopsherc  attacks  the  terminals,  causes  oxidation, 
and  oxidized  terminals  mean  poor  contacts.  Unboxed 
tubes  kept  on  the  shelves  for  months  should  be  cleaned, 
else  when  the  tubes  are  placed  into  the  socket  the  contact 
is  poor  between  the  tube  and  socket  prongs. 

The  veteran  projectionist  has  a  routine  check-up  of 
all  of  his  equipment,  including  a  check  of  sound  ampli- 
fiers, sound  heads,  corrosion  on  all  switches,  all  tubes 
(the}  do  not  leave  any  doubtful  lube  in  service),  lenses, 
lamp  reflectors,  condensers  and  fuses,  and  many  other 
parts  of  his  machines.  Hell  tightl)  close  the  oil  cans  so 
atmospheric  moisture  cant  condense  in  the  lubricant 
i  main  cases  of  rusting  equipment  are  traced  to  that 
condensed    in   open    oil  cans). 

And  he  can't  take  chances  on  fire,  from  time  to  time 
he'll  inspect  the  film  cabinet  to  make  sure  it  is  still  in  A-l 
condition,  and  he  will  periodically  inspect  the  rectifiers, 
generators  or  other  apparatus  located  outside  the  booth. 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
International  Projectionist  Publishing  Co.  division  of  The 
Northern  Publishing  Co.,  Post  Office  Box  6174,  Minneapolis 
24,  Minnesota.  Editorial  offices,  1645  Hennepin  Avenue, 
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Minneapolis,  Minn.  INTERNATIONAL  PROJECTIONIST  as- 
sumes no  responsibility  for  personal  opinions  appearing  in 
signed  articles,  or  for  unsolicited  articles.  Entire  contents 
copyrighted  1963  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 


1 


International   Projectionist        June  1963 


Dust   Deteriorates 

The  usual  thing  is  a  painted  floor  in  the  projection 
room,  and  when  the  paint  is  worn  to  the  point  that  walk- 
ing on  the  floor  will  scuff  concrete  dust  into  the  equip- 
ment, the  projectionist  has  an  insurmountable  task.  The 
effect  of  dust  upon  electrical  apparatus  is  of  greater 
importance  at  the  seashore,  where  the  atmosphere  is  very 
moist. 

The  new  and  older  large  installations,  carry  all  wires 
though  conduit,  but  in  many  cases  with  open  wiring  the 
wires  develop  puncture  due  to  moisture  absorption. 

The  projectionist  cannot  coordinate  electrical  distur- 
bance with  dirty  equipment.  The  projectionist  should  take 
a  firm  stand  with  the  exhibitor  or  the  manager  if  dust  gets 
in  the  booth.  He  is  powerless  to  keep  the  equipment  clean. 
And  why  should  the  exhibitor  permit  dust  and  dirt  on  his 
own  equipment — assuming  his  projectionist  cleans  the 
equipment  regularly?  iP 


XeTRON 


Frank  H.  Riffle,  general 
manager  of  the  XeTRON 
Division  of  Carbons,  Inc., 
points  out  the  simplicity 
of  the  pushbutton  starting 
device  of  the  XeTRON 
CX  unit,  designed  main- 
theatres''  35mm,  16mm 
and  8mm  operations.  The 
unit  has  a  40  watt  lamp- 
house. 

Carbons,  Inc.  announces  the 
launching  of  its  XeTRON  Division  as 
its  entry  into  the  Xenon  light  field. 

This  will  be  in  addition  to  the  Lor- 
raine Arc  Carbon  Division  which 
supplies  the  "Orlux"  arc  carbons  to 
the  motion  picture  industry;  "Ac- 
tina"  carbons  to  the  graphic  arts  in- 
dustry, and  "Solar"  carbons  to  the 
environmental  sciences  industry. 

The  XeTRON  Division  will  be  built 
around  the  sale  of  Xenon  short  arc 
bulbs,  highly  efficient  XeTRON 
lamphouses,  XeTRON  silicon  power 
supplies  and  associated  items. 

Heading  up  the  XeTRON  Division 
as  technical  director  and  general 
manager  will  be  Frank  H.  Riffle,  a 
veteran  of  35  years  in  theatre  projec- 
tion  and   sound   work.   Mr.   Riffle   is 


Lorraine  Carbon  Enters 
Xenon  Lamp  Field 


a  professional  registered  engineer 
whose  experience  includes  20  years 
with  ERPI  and  Altec  Service,  eight 
years  as  chief  engineer  with  Motio- 
graph,  Inc.  and  three  years  as  field 
engineer  with  Carbons,  Inc.  He  is  an 
active  member  in  the  Society  of  Mo- 
rion Picture  and  Television  Engineers, 
as  well  as  IATSE  Local  163. 

Edward  Lachman,  president  of 
Carbons,  Inc.  said  recently:  "The 
growing  interest  in  Xenon  as  a  new 
source  for  motion  picture  projection 
and  other  applications  cannot  be  ig- 
nored. During  the  past  years  we  have 
watched  carefully  the  development  of 
the  enclosed-short  arc  and  have  seen 
it  improved  through  the  use  of  pat- 
ented features  to  a  point  where  it 
is  a  very  reliable  high  quality  light 
source  suitable  for  color  as  well  as 
black  and  white  projection,  in  the 
range  of  1  to  2  kilowatts.  For  the 
present  time,  needless  to  say,  for  the 


large  theatre  or  drive-in,  the  carbon 
arc  remains  still  unmatched  and  can- 
not   be    replaced. 

"Our  laboratories  in  France  and 
Italy  have  cooperated  to  develop 
these  advances  in  this  Xenon  field. 
The  lamphouses  and  the  enclosed 
short  arcs  have  been  proven  and  are 
now  used  the  world  over.  Originally 
there  may  have  been  some  deficien- 
cies in  the  spectral  output  but  by 
careful  lamp  and  optic  design  this  | 
was  corrected  and/or  changed  to 
match  the  color  quality  of  the  high 
intensity  carbon  arc  lamp. 

"We  feel  that  the  XeTRON  lamp- 
house  can  meet  the  very  exacting 
requirements  for  screen  brightness 
and  color  demanded  by  the  studios  of 
Hollywood  and  a  great  number  of 
theatres  in  America. 

"Therefore,  Carbons,  Inc.  through 
its  new  XeTRON    Division,  proudly 


An  inside  view  of  the  new  unit 


ON  THE  COVER: 

Gathered  in  front  of  the  neiv  Lamp  are  chief  projectionist 
Charles  Bachert  of  the  State  Theatre,  Boonton,  N.J., 
a  member  of  IATSE  Local  502,  Frank  Riffle,  Lorraine 


Carbon  engineer  and  general  manager  of  the  XeTROI\ 
Division,  and  Edward  Lachman,  president  of  Carbons. 
Inc.,  Boonton,  N.J.  Several  of  the  other  illustrations 
were  taken  in  the  experimental  and  test  laboratories 
of  the  division  in  the  State  Theatre. 


International  Projectionist        June  1963 


Frank  Riffle  Heads  New  Division; 
Will  Distribute  Cinemeccanica  Lamp 


announces  that  it  is  the  distributor 
for  the  XeTRON  lamphouses,  manu- 
factured by  Cinemeccanica  of  Milan. 
Italy. 

"These  lamphouses  will  he  avail- 
able in  two  basic  sizes.  The  XeTRON 
CX  unit  will  use  a  150  watt  Xenon 
bulh  and  is  destined  for  the  16mm 
and   8mm     projection.      The     larger 


The  lamphouse  closed 

XeTRON  lamphouses  are  designed 
for  900,  1600  or  2500  watt  Xenon 
bulbs,  and  can  be  used  with  screen 
sizes  up  to  40  feet  wide.  Specially 
designed,  patented  front  surface 
"cold"  reflectors  are  standard  equip- 
ment. The  coating  is  "super  hard" 
and  withstands  repeated  cleaning 
without  losing  its  characteristics. 

"XeTRON  is  also  happy  to  an- 
nounce that  they  have  been  selected 
by  the  Christie  Electric  Co.  of  Los 
Angeles,  as  the  exclusive  distributor 
for  their  power  supplies  for  those 
fields  in  which  the  XeTRON  Divi- 
sion is  primarilv  concerned." 

The  XeTRONPOWER  units  use 
Silicon  rectifiers.  They  have  the  prop- 
er volt-ampere  characteristics,  cur- 
rent ripple  and  the  Vc  RMS  or  less, 
current  regulation  as  specified  for 
proper  Xenon  operation.  These  fea- 
tures provide  XeTRON  equipment 
users  with  maximum  protection  as  far 
as  trouble-free,  low  cost  operation  is 
concerned. 

Mr.  Lachman  said  the  same  type 
of  customer  service  by  field   techni- 

I.VTERNATIONAL     PROJECTIONIST 


cians  ?upplied  by  Lorraine  Carbons, 
will  be  available  from  the  XeTRON 
l)i\  ision. 

For  those  not  familial  with  the 
\enon  short  arc  and  it>  character- 
istics, the  following  information  ma\ 
be  helpful. 

The  Xenon  bulb  consists  of  a 
quartz  envelope  containing  two 
tungsten  electrodes  in  an  atmosphere 
ol  Xenon  gas. 

Some  of  the  important  character- 
istics are  outlined: 

I.  Average  color  temperature  is  6,- 
000  degrees  Kelvin,  which  is  con- 
sidered best  for  motion  picture  pro- 
jection. 2.  Color  remains  unchanged 
even  when  input  power  is  varied  o\cr 
a  wide  range.  ^.  Maximum  arc  sta- 
bility I.  Constant  light  output  over- 
rated average  life  when  hull)  is  oper- 
ated according  to  specifications. 

The  bulbs  must  he  operated  from 
direel  current  with  the  proper  polar- 
ity. The  power  supplies  an-  designed 
especially  for  the  Xenon  operation 
and  must  meet  several  requirement. 
sucb  as: 

(a)  Proper  no  load  voltage,  (b) 
Satisfactory  voltage  regulation  to  re- 
duce arc  voltage  to  proper  operating 
level  after  arc  i-  established,  id  how 
current  ripple  to  prevent  damage  to 
Xenon  bulb  and  give  a  flicker-free 
picture,  id  I  Provide  a  fine  type  of 
current  control  in  order  to  adjust  the 
bulb  current  to  the  needed  value. 

The  current  design  of  the  power 
supply  is  of  utmost  importance  to  a 
successful  Xenon  operation,  such  as 
Christie's,  otherwise  it  can  reduce 
bull)  life  considerably  and  create 
several  hazards  to  a  normal  opera- 
tion. Due  to  electrode  spacing  and 
pressure  of  Xenon  gas  inside  the 
bulb,  a  certain  procedure  should  be 
followed  to  start  the  arc.  When  the 
start  button  is  depressed  a  high 
voltage  of  high  frequency  of  40.000 
volts  is  developed  and  applied  across 
the  bulb  electrodes  for  a  fraction  of 
a  second.  This  ionizes  the  gas  in  the 
bulb  and  reduces  the  resistance  of 
the  gap.  If  the  power  supply,  no  load 
voltage,  is  sufficient,  current  will 
flow  between  the  electrodes  and 
establish  an  arc.  Due  to  the  regula- 
tion characteristics  of  the  power  sup- 
ply, the  arc  voltage  will  immediately 

June  1963 


Operating  details  of  the 
Cinemeccanica  lamp  are 
shown  here,  with  the 
lamp  in  place  in  front  of 
the  reflector,  and  the 
entire  lamphouse. 


drop  to  the  proper  operating  level. 

While  the  ignition  voltage  is  very 
high,  it  is  of  such  a  nature  that  it 
is  not  considered  hazardous  when 
normal  precautions  are  employed.  It 
is  similar  to  the  spark  from  an  auto- 
mobile ignition  system  or  the  fly- 
back voltage  in  a  television  receiver. 
In  normal  operation,  full  protection 
is  provided  to  avoid  unpleasant  re- 
action. 

For  the  first  time  a  real  "push 
button"  operation  is  available  for  a 
high  intensity  type  light.  About  two 
seconds  after  the  arc  is  established 
it  settles  down  to  a  high  degree  of 
stability  and  needs  no  further  atten- 
tion. 

It  appears  that  the  "Xenon  Age" 
is  approaching  and  we  feel  sure  that 
many  people  will  be  amazed  with  the 
results  being  obtained  and  with  the 
potential  that  exists  in  this  field.  iP 


XENON 


Projection 
Lamps 


PART  I 
CHARACTERISTICS  AND  BASIC   PRINCIPLES 


By   ROBERT  A.   MITCHELL 


Professionally  alert,  the  projection  craft  is  always 
intrigued  by  new  technical  developments  which  show  real 
promise  of  improving  the  presentation  of  motion  pictures. 
Exhibitors,  by  and  large,  do  not  evince  an  interest  until 
the  innovations  have  been  adequately  tested  by  actual  use 
for  a  long  period  of  time.  The  xenon  "short-arc"  pro- 
jection lamp  is  just  such  a  development.  Although  new, 
it  has  already  proved  its  worth  by  years  of  gratifyingly 
satisfactory  use  in  theatres.   Its  use  is  rapidly  expanding. 

Introduced  in  Germany  nearly  10  years  ago,  the 
xenon  lamp  quickly  won  acceptance  as  an  adequate,  and 
in  some  respects  superior,  substitute  for  the  smaller 
carbon-arc  lamps  burning  relatively  low  currents.  When 
substituted  for  the  low-intensity  carbon  arcs  which  were 
still  used  in  many  European  theatres  a  few  years  ago, 
the  superiority  of  xenon  lighting  was  impressively  ap- 
parent. The  push-button  ease  of  operation,  the  constant 
color  temperature  of  its  daylight-white  light,  and  the 
absence  of  moving  parts  together  with  is  cleanliness  and 


The  name   "xenon"   comes 
word   xenos,   meaning    "stranger.' 


from    the   Greek 
This    refers   to 


the  rarity  of  xenon  gas  in  nature,  for  the  xenon 
short  arc  is  no  longer  a  stranger  in  the  projection 
room.  Clean  and  easy  to  operate,  this  novel  source 
of  dependable  daylight- white  projection  light  has 
proved  its  worth  by  actual  use  over  a  period  of 
years,  and  is  now  the  preferred  illuminant  in 
studio  and  laboratory  preview  rooms  and  in  many 
of  the  smaller  theatres. 

This,  the  first  of  two  articles  on  xenon,  explains 
the  basic  spectrophotometric  principles  of  gaseous- 
discharge  light  sources.  Though  xenon  cannot  com- 
pete in  light  output  with  high-intensity  carbon  arcs 
burning  more  than  55  amperes  ( 12,500  screen 
lumens  without  shutter  under  standard  conditions), 
it  represents  a  distinct  improvement  over  the  small- 
er "simplified"  HI  arc  lamp,  which  it  may  one  day 
replace. 


operating  economy  also  commended  the  xenon  lamp  as 
a  more-than-adequate  substitute  for  the  smallest  "simpli- 
fied" high-intensity  mirror  lamps  burning  7-mm  positive 
carbons. 
Carbon   Arcs   for   Large   Screens 

Even  though  the  advantages  of  the  xenon  lamp  over 
the  very  smallest  carbon  arcs  are  obvious,  it  must  be 
borne  in  mind  that  there  is  not  now,  and  probably  never 
will  be,  any  substitute  for  the  high-intensity  carbon 
arc  for  the  larger  screens.  It  is  possible  that  the  intrinsic 
brightness  of  the  xenon  light  source  will  be  somewhat 
increased  in  the  future,  but  there  appears  to  be  a 
definite  limit  as  to  the  feasible  maximum  luminosity  of 
a  light  source  which  already  has  the  maximum  radiating 
area  permissible  for  optical  projection  —  a  fan-shaped 
"flame"  of  ionized  gas  enclosed  in  a  quartz-glass  bulb. 

In  the  present  state  of  the  art,  therefore,  the  xenon 
lamp  offers  its  marvelous  advantages  only  to  those 
theatres  where  the  screen  is  small  enough  to  be  adequately 
illuminated  with  Suprex  carbon  arcs  burning  no  more 
than  55  amperes.  Theatres  requiring  from  60  to  80 
amps,  in  Suprex  lamps,  or  75  or  more  amps,  in  rotating- 
positive  lamps,  must  retain  the  high-intensity  carbon 
arc. 

The  excellence  of  the  xenon  lamp  in  its  rather  more 
modest  range  of  luminous  outputs  nevertheless  merits 
the  greatest  attention.  The  projectionist,  in  particular, 
should  familiarize  himself  with  the  picture-illuminating 
and  operating  characteristics  of  this  new  light  source. 
If  his  theatre  has  a  matte  screen  of  0.85  reflectance  no 
wider  than  27  feet,  or  a  pearl  or  low-gain  aluminum 
screen  of  1.5  reflectance  no  wider  than  35  feet,  the 
possibility  that  he  may  one  day  be  operating  on  xenon 
equipment  most  assuredly  exists!  Xenon  lamps  are  easier 
to  operate  than  carbon  arcs. 
Xenon   a   True  Arc 

All  of  the  different  illuminants  heretofore  used  for 
the  projection  of  motion  pictures  in  theatres  derive  their 
light  from  brilliantly  incandescent  solids.  In  the  old- 
fashioned  limelight,  a  solid  "pin"  of  quicklime  is  heated 

International  Projectionist        June  1963 


A  Scene  From  America's  Projector  Carbon  Center... 


Equipment  for  coaling  carbons  with  copper 


if 


Coating  projector  carbons  with  the  right  amount 
of  copper  is  a  top-billing  production  step" 


Sid  Morley 


This  equipment  performs  the 
important  task  of  coating  pro- 
jector carbons  with  copper— not 
for  eye  appeal,  but  for  the  vital 
purpose  of  assuring  more  de- 
pendable screen  lighting.  The 
coating  helps  conduct  current  from  the  jaws  of 
the  lamp  to  the  arc.  For  maximum  light  effi- 
ciency the  copper  coating  must  be  of  precision 
thickness  — no  more  — no  less! 

From  the  coating  operation  at  National  Car- 
bon's plant  in  Fostoria,  Ohio,  projector  carbons 
move  on  to  an  automatic  resistance  test,  where 
a  direct  reading  instrument  measures  in  ohms- 


-says  SID  MORLEY 

National  Carbon  Salt's  Engineer 

per-inch  the  coating  on  each  carbon.  If  the  coat- 
ing is  too  thin  or  too  thick,  the  unwanted  carbon 
is  ejected  from  the  line. 

How  is  this  rigid  test  related  to  good  lighting? 
First,  if  the  coating  is  too  thin,  the  carbon  might 
spindle  back  to  the  holder,  resulting  in  freezing 
and  a  possible  lamp  shutdown.  Secondly,  if  too 
thick,  it  might  produce  copper  dripping  and 
cause  the  arc  to  wander. 

In  coating  and  all  other  manufacturing  steps, 
National  Carbon  utilizes  today's  most  reliable 
quality  control  methods.  We  want  to  be  sure 
your  patrons  get  the  finest  screen  lighting  that 
projector  carbon  money  can  buy ! 


Conlact 
Mr.  National  Carbon 


UNION 
CARBIDE 


"National"  and  "Union  Carbide"  are  registered  trade-marks  for  products  of 

NATIONAL  CARBON   COMPANY 

Division  of  Union  Carbide  Corporation  •  270  Park  Avenue  •  New  York  17,  N.  Y. 
In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


* 


International   Projectionist        June  1963 


FIG.  1 — Two  sizes  of  xenon 
bulb  manufactured  by  the 
firm  of  Osram  in  Germany. 
The  bulbs  are  made  of  heat- 
resistant  quartz,  the  metal 
electrodes  of  tungsten.  The 
bulbs  are  filled  with  pure 
xenon  gas  at  a  pressure  of 
from  8  to  10  atmospheres. 


to  incandescence  by  an  oxyacetylene  flame  which,  by 
itself,  is  only  feebly  luminous  in  spite  of  its  high  tempera- 
ture. The  "mazda"  light  bulb  used  in  small  projectors 
emits  its  radiation  from  a  solid  tungsten-wire  filament 
heated  to  incandescence  by  an  electric  current. 

The  low-intensity  carbon  arc  produces  its  light  from 
the  white-hot  tip  of  a  solid  carbon  rod  heated,  like  an 
incandescent-bulb  filament,  by  the  passage  of  electricity. 
The  solid  carbon  does  indeed  slowly  vaporize  and  burn 
away,  but  the  "arc"  of  current-conducting  gas  between 
the  tips  of  the  two  carbons,  although  luminous,  is  much 
less  bright  than  the  glowing  positive  crater.  Even  the 
high-intensity  arc  is  a  solid  emitter.  Some  of  its  light 
comes  from  the  solid  carbon  of  the  crater,  but  most  comes 
from  a  cloud  of  electrically  excited  cerium  oxide  particles 
suspended  in  a  film  of  carbon  gas  covering  the  crater 
floor.  Inasmuch  as  the  low-intensity  crater  light  is 
yellowish,  and  the  high-intensity  cerium  light  is  bluish, 
varying  the  electrical  load  varies  the  color  of  the  high- 
intensity  carbon  arc. 

The  xenon  light  source,  on  the  other  hand,  is  a  true 
gaseous-discharge  type  of  illuminant,  and  "arc  light"  in 
the  true  sense  of  the  term.  All  of  the  radiation  is  emitted 
from  an  arc  of  glowing  gas  between  the  two  metal 
electrodes,    not    from    the    electrodes,    themselves. 


Bluish 
violet 


400   436 


Yellow-  „ 
£reenYellow 

546     578V 


700 


SPECTRUM  OF  MERCURY 


400  436  546    578 


700 


SPECTRUM    OF  MERCURY 
(VAPOR  UNDER  PRESSURE) 

FIG  2 — The  spectrum  of  mercury  vapor  con- 
sists of  bright  colored  lines  on  a  dark  back- 
ground. The  three  most  intense  lines  are 
bluish  violet,  yellowish  green,  and  yellow.  If 
the  pressure  of  the  vapor  is  greatly  in- 
creased, the  lines  broaden  to  give  a  more 
satisfactory  light  for  illuminating  purposes. 
Nevertheless,  the  absence  of  red  rays  in 
mercury  light  causes  all  red  objects  illumin- 
ated by  it  to  appear  dark  brown  or  black  in 
color.  This  diagram  is  for  illustrative  purposes 
only:    there  is  no  mercury  in  a  xenon  bulb. 


Common    Discharge   Lamps   Colored 

Most  of  the  common  gaseous-discharge  illuminants, 
such  as  the  neon-type  tubes  used  for  illuminated  signs,  are 
manifestly  unsuitable  for  projection  purposes.  First,  they 
aire  not  sufficiently  concentrated  (low  luminosity  per 
unit  area ) .  and  hence  cannot  be  focused  to  a  small, 
intensely  bright  "spot"  by  mirrors  or  lenses.  Second, 
they  emit  a  strange  sort  of  light  which  usually  appears 
more  or  less  colored  and  which,  when  analyzed  with  a 
spectroscope,  is  seen  to  consist  only  of  a  few  intensely  col- 
ored "emission  lines"  (Separate  wavelengths  of  light)  on 
an   otherwise  dark  spectral  background. 

The  mercury-vapor  lamp  used  for  blueprinting  is 
another  common  example  of  an  electric  gaseous-discharge 
light  source.  Electricity  passes  through  mercury  vapor 
and  excites  the  mercury  atoms  into  emitting  radiation. 
The  light  of  a  mercury-vapor  lamp  has  a  ghastly  green- 
ish white  color,  but  this  is  not  its  worst  feature  as  an 
illuminant.  It  makes  most  colored  objects  illuminated  by 
it,  look  horribly  discolored  and  blackish. 

The  discoloring  effect  of  mercury-vapor  light  is  due 
to  the  absence  in  its  spectrum  of  all  but  a  very  few  colors. 
The  mercury  spectrum  consists  chiefly  of  only  three 
bright  colored  lines  on  a  black  background  —  yellow, 
yellowish  green,  and  bluish  violet.  (The  strong  ultraviolet 
lines,  useful  in  a  few  special  applications,  are  invisible.  I 
In  mercury  light,  all  objects  which  are  bright  blue,  bluish 
green,  orange,  or  flesh-colored  appear  grav  or  brown; 
and  all  red  objects  look  black  for  the  simple  reason  that 
mercury  light  is  almost  completely  devoid  of  red  rays! 

An  improvement  in  both  the  illuminating  intensity 
and  visual  quality  of  mercurv  light  results  when  the 
pressure  of  the  electricity-conducting  vapor,  or  gas,  is 
greatly  increased.  Not  only  does  the  mercury-vapor 
tube  then  give  more  light,  but  the  spectral  emission  lines 
(yellow,  green,  and  violet)  widen  into  relatively  broad 
bands  which  include  more  colors.  The  light  then  has  a 
less  ghostly  appearance  and  gives  a  somewhat  better 
(though  still  very  far  from  perfect)  rendition  of  colored 
objects  illuminated  by  it. 

This  is  why  the  mercurv  vapor  in  modern  street- 
illuminating  lamps  and  in  the  "pulsed-light"  tube  for 
shutterless  motion-picture  projectors  is  excited  under  high 
pressure.  But  even  so,  the  extreme  weakness  of  the  red 
region  of  the  mercury  spectrum  and  the  absence  of  pure 
blue  are  serious  handicaps  from  the  visual  point  of  view. 
The  light  from  a  high-pressure  mercury  bulb  may  have  a 
daylight-white  appearance,  but  it  is  spectrally  too  selec- 
tive to  behave  in  a  natural  manner  as  an  illuminant.  This 
is  true  even  when  cadmium  has  been  added  to  the  mer- 
curv to  supply  the  missing  red  wavelengths,  or  rubidium 
and  cesium  to  supply  both  red  and  blue. 

The  mercury  arc  and  its  spectrum  have  been  described 
here  only  to  clarify  the  basic  spectro-colorimetric  prob- 

International  Projectionist        June  1963 


lems  peculiar  ti>  gaseous-discharge  light  sources.  That  the 
tenon  arc  is  free  from  the  energy-distribution  limita- 
tion- of  the  mercury  are  will  soon  he  apparent.  Vo 
mercury   is  used  in  the  xenon  lamp. 

Xenon    Satisfactory    for    Projection 

Xenon  is  an  invisible,  heavy,  odorless,  non-poisonous, 
Don-combustible,  and  verj  rare  gas  of  the  helium  family 
of  chemically  inert  elements  (helium,  neon,  argon. 
krypton,  xenon,  radon);  and  it.  too,  emits  light  when 
excited  In  the  passage  of  electricity.  And  as  is  the  case 
with  mercury  vapor,  the  emission  lines  of  xenon  are 
broadened  and  improved  for  illuminating  purposes  by 
pressurizing  the  gas. 

However,  there  are  very  important  differences 
between  xenon  light  and  mercury  light — differences  which 
serve  to  impress  us  with  the  very  satisfactory  visual 
qualiu  of  the  light  emitted  In  pressurized  xenon  gas  when 
an  electric  current  of  the  proper  voltage  characteristics 
is  passed  through  it. 

Unlike  mercurj  light,  which  has  onl\  three  brighl 
•■mission  lines,  xenon  lignl  has  a  large  number  of  lines 
evenhj  distributed  throughout  the  entire  \  i-il >!«•  spectrum. 

\nd    when    the    xenon    gas    is    placed    under    pie— me.   the 

lines  broaden  and  merge  into  one  another  to  form  a 
continuous  spectrum  containing  all  of  the  color-  associ 
ated  with  the  different  wavelengths  of  lighl  from  TOO 
millimicrons  (deep  red)  to  400  millimicrons  (intense 
violet).  None  are  missing.  The  result  is  a  daylight- 
white  light  of  continuous  energy  distribution  which  is 
visually  pleasing  and  ui\e-  a  complete!)  natural  rendi- 
tion  of  the  colors   recorded   on   dye-image  color   films, 


Violet 

Blue  Cya 

n   Green 

YdlowOrui^* 

Red 

,^ 

&* 

'I 

_i     -*»■ 

.  ^  —  —  ■ 

~^z£ 

;"'-% 

_>UN 

. 

2^ 

"*«"** 

;r0\ 

3 

f  L.I.  ArtC    s&P 

/"V 

400 


300  600  700 

Nanometer* 

FIG.  3  -  -  Spectrophotometric  curves  in  the 
visible  spectrum  of  average  noon  sunlight,  the 

high-intensity  and  Ion-intensity  carbon  arcs, 
ami  the  tungsten-filament  (mazda)  lamp.  The 
weakness  of  mazda  illumination  in  the  short- 
it  arc  end  of  the  spectrum  !  violet  to  blue) 
results   in   a   distinctly   yellonisli    li^ht. 


such 
color 


as 


Eastman   Color, 

erraniacolor.    etc. 


Technicolor.   Gevacolor,    \ufa- 


Quality    of    "White":    Color   Temperature 

The   ideal   color-quality    of   illumination    for  motion 


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International   Projectionist        June  1963  9 


picture  projection  is  ordinarily  described  as  "daylight 
white."  An  illuminant  will  give  this  quality  of  light  when 
it  emits  all  visible  wavelengths  about  equally.  If  the  light 
is  weak  in  the  shortwave  end  of  the  spectrum  (violet, 
blueviolet,  blue),  it  will  be  yellowish  in  color.  If  weak 
in  the  longwave  end  (red  scarlet,  orange),  the  light  will 
be  bluish.  If  weak  at  both  ends,  the  middle  green  and 
yellow  rays  will  preponderate,  and  the  light  will  look 
greenish.  Less  frequently,  the  middle  part  of  the  spec- 
trum may  be  weak.  In  this  case,  the  preponderance  of 
red  and  violet  rays  will  impart  a  purplish  or  pinkish 
color  to  the  light. 

For  the  purpose  of  measuring  light,  particularly  with 
reference  to  its  color,  scientists  have  agreed  upon  three 
standard  illuminants  designated  as  Source  A,  Source  B, 
and  Source  C.  Source  A  is  amber-yellow  tungsten-lamp 
illumination.  Source  B  is  direct  noon  sunlight.  Source 
C.  the  one  we  are  most  interested  in,  is  diffused  daylight 
(direct  sunlight  plus  blue  skylight).  Compared  with 
lanmplight.  Source  C  illumination  has  a  bluish  cast,  but 
it  is  actually  the  near-neutral  whiteness  of  skylight  on  a 
heavily    overcast    day. 

Unless  they  are  perceptibly  purplish,  pinkish,  or 
greenish,  illuminants  may  also  be  rated  on  the  basis  of 
the  temperature  to  which  a  perfectly  absorbing  "Planc- 
kian-type  radiator"  must  be  heated  to  match  them  in 
color.  Thus  the  light  of  a  candle  flame  may  be  said 
to  have  a  "color  temperature"  of  3,015°  Fahrenheit,  or 
1,657°  Centigrade;  and  because  the  glowing  carbon  par- 
ticles in  a  candle  flame  actually  have  this  high  tempera- 
ture, carbon  may  be  said  to  be  a  near-perfect  Planckian 
radiator. 

In  practice,  color  temperatures  are  specified  on  the 
absolute,  or  Kelvin,  thermometer  scale,  which  is  the  same 
as  the  Centigrade  plus  273  degrees.  In  the  example 
above,  3,015°  F  =  1,657°  C  =  1,930°  K.  Zero  on  the 
Kelvin  scale  is  particularly  significant:  it  is  the  tem- 
perature at  which  all  heat  vanishes — the  absolute  and 
unsurpassable  cold.  (0°  K  =  -273°  C  =  -460°  F.) 

It  can  readily  be  understood  that  reddish  and  yel- 
lowish light  sources  have  lower  color  temperatures  than 
pure  white  and  bluish  white  sources.  The  standard  tung- 
sten mazda  lamp  ( Source  A ) ,  for  example,  has  a  color 
temperature  of  2,854°  K,  while  a  1000- watt  mazda  pro- 
jection lamp  has  a  color  temperature  of  about  3.200°  K, 


Ultra 
violet 

-<— VIsib 

e  — 

Infrared 

H.I 

.AC 

\c 

f  I 

\ 

V. 

1 XI 

:nc 

)N 

:■  : 

C 

1 

\'i> 

\  *I 

_C 

1 

; 

:1: 

; 

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ij- 

.-'* 

•+*•**—' 

>.. 

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X 

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•-"** 

^*as 

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!.!»» 

300  -4O0  500  600  70O  800  900  100O      120O      140O     1600 

Wavelength  in   nanometers  (millimicrons) 

FIG.  4  —  Ultraviolet,  visible,  and  infrared 
energy  distribution  for  the  high-intensity 
carbon  arc  and  the  xenon  short-arc  bulb 
(dotted  line).  The  energy  distribution  of 
xenon  light  is  continuous  and  nearly  level  in 
the  visible  spectrum.  Xenon  light  is  therefore 
daylight-white  in  color  and  very  satisfactory 
for  the  correct  rendition  of  the  colors  in 
color-film  prints. 


10 


and  hence  emits  a  somewhat  whiter  light.  Nevertheless, 
the  "white"  light  of  a  mazda  projection  bulb  is  de- 
finitely yellowish  in  comparison  with  direct  noon  sun- 
light (Source  B  =  4,870°  )  or  diffused  daylight  (Source 
C  =  6,740°  ) .  The  color  temperature  of  clear  blue  sky 
is  said  to  be  about  25,000°,  while  an  "infinitely  hot" 
body  would  emit  a  light  just  perceptibly  bluer  than  the 
clear  blue  sky.  (Even  this  is  far  from  a  "saturated" 
spectrum  blue ! ) 
Co9or  Temperatures   of   Carbon   Arcs 

The  color  temperature  of  the  low-intensity  carbon 
is  3,900°,  which  is,  in  fact,  the  actual  temperature  of 
solid  carbon  heated  to  the  temperature  at  which  it  va- 
porizes. (3,900°  K  =  3,600°  C  =  6,800°  F  in  round 
figures. )  The  LI  carbon  arc  is  thus  whiter  than  a 
tungsten-filament  bulb,  though  slightly  yellowish  in 
comparison  with  the  high-intensity  carbon  arc  or  with 
daylight. 

Except  for  solid  carbons,  tungsten-lamp  filaments, 
and  other  Planckian  radiators,  color  temperature  has  no 
connection  with  the  actual  temperature  of  light  sources. 
Thus  clear  blue  sky,  which  has  the  enormously  high 
color  temperature  of  25,000°,  is  actually  freezing  cold! 
But  a  lump  of  matter  heated  to  a  temperature  of  25,000° 
(as  in  certain  stars)  would  have  exactly  the  same  bluish 
color. 

Unlike  the  low-intensity  arc.  the  high-intensity  carbon 
arc  does  not  obey  Planck's  rule.  It  is  a  non-Planckian 
radiator.  The  actual  temperature  of  the  crater  of  a  HI 
positive  carbon  is  the  same  as  that  of  the  crater  of  a 
LI  positive  carbon  (3,900°).  but  the  color  temperature 
of  a  HI  arc  is  quite  a  bit  higher  than  that  of  a  LI  arc. 
This  means  that  the  HI  carbon  arc  gives  a  less  yellow- 
ish, or  "whiter,"  light  than  the  LI  carbon  arc  does. 
The  blue-white  component  of  the  light  of  a  high-intensity 
carbon  arc  comes  mainly  from  cerium  atoms  in  an  elec- 
trically excited  state. 

As  a  matter  of  fact,  the  pure  white  light  of  a  properly 
operated  HI  carbon  arc  is  similar  to  direct  sunlight 
(color  temperature  about  5,000°)  both  in  appearance 
and  in  spectral  energy  distribution — no  empty  "gaps" 
or  sharp  emission  "peaks"  in  the  spectrum.  This  makes 
the  HI  carbon  arc  very  satisfactory  for  color-film  pro- 
jection. Unfortunately,  however,  two  important  operat- 
ing factors  familiar  to  all  projectionists  militate  against 
the  achievement  of  an  invariably  constant  color  tempera- 
ture for  HI  carbon-arc  screen  illumination. 
Color  Temperature  of   HI   Arc  Varies 

One  of  these  carbon-arc  operating  factors  is  electrical 
load.  If  HI  carbons  are  burned  at  the  minimum  recom- 
mended currents,  the  color  temperature  may  be  as  low 
as  4,500°.  This  represents  a  distinctly  yellowish  light, 
and  only  just  a  bit  "whiter"  than  LI  arc  radiation.  On 
the  other  hand,  HI  carbons  burned  at  the  maximum  re- 
commended currents  emit  a  blue-white  light  of  about 
6,500°  in  color  temperature.  This  is  substantially  the 
same  as  diffused  daylight    (Source  C)    in  color. 

Readers  of  IP  mav  recall  that  we  have  always  recom- 
mended that  HI  positives  be  burned  at.  or  very  close  to, 
their  maximum  current  ratings  in  order  to  obtain  this 
snow-white  daylight  quality  of  light  on  the  screen.  The 
picture  will  also  be  brighter,  the  screen  illumination  more 
uniformly  distributed,  and  the  reproduction  of  color 
films  more  vivid  and  lifelike. 

The  second  carbon-arc  factor  affecting  the  color 
temperature  of  the  light  on  the  screen  is  arc  focus. 
If  the  positive  crater  advances  too  far  toward  the  mirror, 
the  light  will  become  brownish — a  very  low  color  tem- 
perature.    If  the  crater  recedes  too  far  away  from  the 

(Continued  on  Page  16) 

International  Projectionist        June  1963 


MPAA  Officials 
Praise  Century 
Projection    Booth 

WASHINGTON  —  Following     the 

installation  of  the  Century  projection 
booth  for  the  Motion  Picture  Associ- 
ation ot  America's  screening  room 
here,  MP  A  \  officials  expressed  their 
satisfaction  with  the  installation,  de- 
tailed in  the  May,  1963,  issue  of  IP. 

Kenneth  (Mark,  executive  vice  presi- 
dent ot  MPAA,  disclosed  his  satisfac- 
tion with  the  Century-equipped  pro- 
lection  booth  in  a  letter  to  Frank  E. 
Cahill,  Jr.  ot  Century: 

"It's  the  talk  of  the  town  .  .  .  the 
Century-equipped  projection  booth  in 
our   screening   room. 

"Now.  with  this  marvelous  new  in- 
stallation, we  can  show  everything  from 
lonim  to  70mm.  The  transistorized 
sound    system    is    also    perfect. 

"A  top  I.  S.  Government  official 
who  attended  a  screening  here  the 
other  night  came  out  smiling  and  said: 

"'It  this  is  how  it  is  in  theatres.  I'm 
becoming  a  movie  Fan  again.  It's  al 
most  like  attending  a  live  stage  show. 
only  better  in  many  respects.  I  reali/e 
now  how  much  I've  been  missing  from 
passing  up  too  many  motion  pictures.' 

"When  theatres  ha\  e  equipment  such 
■  is  you  have  installed  lor  us.  I  am  sure 
it  will  lure  back  customers  who  have, 
as  our  friend  said,  been  passing  up 
too  many  mm  its. 

"We  are  delighted  with  it  all." 
Ih-'  Motion  Picture  Association  of 
America.  Inc's  screening  room  in 
Washington,  D.C.  is  one  of  the  out- 
standing screening  rooms  in  the  world 
— in  fact,  those  who  have  visited  this 
exquisite  room  come  awaj  with  the 
feeling  that  the)  have  enjoyed  Amer- 
ica's pa-time  f movies)  in  the  atmos- 
phere of  a  beautiful  living  room. 

\-  for  motion  picture  presentation 
facilities,  the  MP  \  \  projection  booth 
has  everything  from  16mm  to  70mm 
equipment. 

The   new    Century    American-made 

'»  '>imm  projectors  as  well  as  the 
Centurv  multiple  6-1-1  channel  All- 
Transistor  sound  equipment  was  sup- 
plied and  installed  by  H.  C.  Dusman 
of  the  firm  of  J.  F.  Dusman  Co.  of 
Baltimore.  Md.,  established  in  1912. 
The  Dusman  Co.  has  been  a  Centurv 
dealer  for  over  35  years.  In  addition 
to  the  7<>  35mm  equipment,  auxiliarv 
interlocks  for  3D  or  separate  sound 
heads  were  installed,  which  makes 
J.  Al  Pratt,  consulting  projection 
this  room  unique  in  even  respect, 
engineer,  member  of  Local  224  MPO. 

was  in  direct  charge  of  the  installa-         . 

tion  completed  March  15.  1963. 

International   Projectionist        June  1963 


IF  YOU  ARE  NOT  USING  THE 
"LITTLE  MISER"  CARRON  SAVER 

YOU  ARE  LOSING  SEVERAL 
HUNDRED  DOLLARS  EACH  YEAR 


AN 


NEW 

ILLUMINATED   SCREW    DRIVER 


Just  twist  the  stud  in  and  out 

No    grinding — No    dirt 

4  sizes,  9-10-1 1mm,  $3.00  ea. 

13.6mm,  $4.50  ea. 


for  working  on  speaker  post  after  dark  .  .  .  com- 
plete with  4  driver  bits;  two  sizes  flat  head  and 
Phillips  head  and  two  No.  135  batteries,  $3.35 
each. 


LOU  WALTERS 

Sales   and    Service   Co. 

4207    Lawnview   Ave.,    Dallas   27,   Texas 
Phone    EV    8-1550 
Post    paid    when    check    is    sent   with    order. 


*' 


CRYSTAL 
CLARITY 

IN  PROJECTION 

Kollmorgen  lenses  rate  tops  in  the  mo- 
tion picture  industry.  Used  exclusively 
with  Cinerama,  they  are  standard  equip- 
ment in  more  than  70%  of  American 
theaters.  Crystal  clarity  of  projection 
on  the  screen — the  whole  screen — is  typ- 
ical of  the  outstanding  performance  of 
super  snaplite"  lenses. 

Other  advantages  that  add  up  to 
superior  screening  with  super  snaplite 
are: 

Fastest  tens  speeds 

Crystal  clarity 

Wire  sharp  contrast  /  1^ 

Wide  range  of  focal  lengths  I " 

Sealed  construction  \  |    £ 


Bulletin  222  describes  Kollmorgen 
lenses  in  detail.  See  your  equip- 
ment dealer,  or  write  us  direct. 


CORPORATION 

NORTHAMPTON.  MASSACHUSETTS 


11 


THE   CINEMA  THEATRE 


LOBBY   CONCESSION   AREA 


Well-Chosen  Location,  Top-Flight  Projection 
Equipment  Pay  Off  for  South  Carolina  Theatre 


LOBBY   LOUNGE   AREA 


AUDITORIUM  AND  STAGE 


Stewart  &  Everett  Theatres,  Char- 
lotte, N.  C,  has  a  new,  modernistic 
theatre  in  Rock  Hill,  S.  C,  the  Cinema 
Theatre. 

Charles  H.  Wheatley  &  Associates, 
architects  in  Charlotte,  designed  and 
supervised  the  construction  of  the 
theatre.  The  architects  were  given 
freedom  by  Stewart  &  Everett  to  give 


expression  to  "something  new  and 
different,  yet  incorporating  in  the 
design  the  proved  principles  condu- 
cive to  good  theatre  operation  and 
good  presentation." 

The  Cinema  Theatre  has  a  fine 
location  on  Oakland  Avenue,  which 
is  a  thoroughfare  bringing  traffic 
into  Rock  Hill  from  the  more  popu- 


lous outlying  area.  It's  one  block 
from  Winthrop  College,  a  South 
Carolina  State  girls'  college  with  an 
enrollment  of  2,100  students.  Rock 
Hill  has  a  population  of  30,000  and 
a  drawing  radius  of  approximately 
60,000. 

All    equipment,    both    sound    and 


BRIGHTER   LIGHT 
LONGER   BURNING 
SHARPER   PICTURE 
Free  Test  Samples 


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<mato£wy&vtfo«t4. 


CARBONS  INC.,  BOONTON,  N.  J. 
liil"*-*  ""f  n  rr  • —  I  -*■ "-1 


STEADIER  LIGHT 
LESS   ATTENTION 
PERFECT  COLOR  BALANCE 
Free  Carbon  Chart 


12 


International  Projectionist        June  1963 


*•*>  ■ 


Double  84  inch  relay  racks  for  stereo 
pre-amplijier  anil  controls.  No.  2, 
and  No.  3  amplifier  channels  to  stage 
speakers,  and  output  selector  panel. 
On  the  right  is  the  optical  stereo 
selective  monitor  and  input  controls 
to  the  optical  power  amplifier. 

projection  and  intercommunication 
system  was  installed  l>\  Carolina 
Sound  Kquipment  Service.  Charlotte, 
under  the  direction  of  the  firm's 
engineer,  R.  W.  Ramsey,  and  John  L. 
Shaver.  Jr..  assistant  to   Ramsey. 

The  Cinema  Theatre  has  a  seating 
capacity  of  600.  The  cost  of  the 
building  was  $133,500,  exclusive  of 
land.  The  cost  of  the  equipment  was 
approximatel)  S  10,000. 

The  exterior  was  constructed  of 
glass,  ceramic  tile,  brick  and  con- 
crete, with  the  main  sign  and  marquee 
huilt  in  Plexiglas  with  Wagner  glass 


H 


THE  VERY  FINEST 


PROJECTOR  PARTS 


The  ultimate  in  precision,  long  life  and  dependability— 
they  keep  projectors  in  top  operating  condition  essential 
to  good  pictures,  patron  satisfaction  and  good  business. 
Available  through  your  Theatre  Equipment  Dealer. 


SINCE     1908 


MACHINE    WORKS 

463S   W.   LAKE  ST.,  CHICAGO  44,   ILL. 
TELEPHONE— AREA  312— ES  8-1636 


How  electrical  noise  is  produced  •  • . 
calculated  .  . .  measured  . . .  controlled 


Here  are  the  basic  facts  about  electrical  noise  —  how  it  originates 
in  circuits  .  .  .  what  terms  describe  it  .  .  .  how  to  measure  it  .  .  . 
how  to  design  circuits  to  minimize  its  undesirable  effects.  The 
physical  nature  of  tbe  various  sources  of  noise  are  clearly  de- 
scribed, including  such  sources  as  thermal  agitation  or  resistance 
noise  .  .  .  shot  noise  in  vacuum  tubes  and  semiconductor  junctions 
.  .  .  noise  from  spontaneous  emission  of  electromagnetic  radiation 
.  .  .  and  noise  in  gas  discharges.  This  practical  book  also  explains 
auxiliary  mathematical  techniques,  and  discusses  the  relation  of 
signal  and  noise  in  various  types  of  communication  systems.  For 
ease  in  use,  the  simple  tuned  circuit  associated  with  a  device  for 
measuring  average  power  is  made  the  basic  tool  for  analyzing 
noise. 


ELECTRICAL 


270  pages,  6x9 
105  illustrations 
$10.00 


By  WILLIAM   R.    BENNETT 

Data  Communications  Consultant,  Bell  Telephone  Laboratories,  Inc. 


Rear  of  right  projector  assembly 
wiring  and  booth  intercommunica- 
tion and  house  lighting  control.  (No 
horizontal   conduit   runs.) 

International   Projectionist        June  1963 


Each  chapter  in  this  helpful  book  begins  in 
a  simple,  practical  manner  and  works  toward 
more  complicated  examples.  For  example,  prop- 
erties of  thermal  noise  and  its  relation  to  black- 
body  radiation  are  deduced  from  basic  laws 
of  thermodynamics  and  statistical  mechanics. 
You  also  will  find  a  clear  treatment  of  elemen- 
tary quantum  mechanics  in  discussions  of  the 
maser  and  of  noise  in  semiconductors.  And,  in 
describing  noise  properties  of  various  devices, 
the  book  fills  in  your  working  background  with 
basic  facts  on  junction  diodes  —  transistors  — 
gas  discharge  tubes— klystrons— traveling  wave 
amplifiers— and  others.  Both  independent  and 
dependent   noise   sources  are   analyzed. 

In  addition  to  the  standard  theory  of  noise 
figure  and  its  significance,  a  treatment  is  given 
of  the  more  comprehensive  Haus-Adler  theory 
of  noise  measure.  Throughout,  the  book  stresses 
the  universality  of  noise-like  phenomena.  Noise 
formulas  for  diodes  and  transistors;  noise  gen- 
eration to  meet  specifications;  design  of  ampli- 
fiers for  minimum  noise  effects— these  and  many 
other  topics  "are  covered.  A  comprehensive  re- 
view of  noise  in  the  various  methods  of  signal 
transmission  such  as  amplitude  modulation  .  .  . 
frequency  modulation  .  .  .  and  the  different 
kinds  of  pulse  modulation  is  included, 


CONTENTS 

1.  General   Properties  of  Noise 

2.  Thermal  Noise 

3.  Distribution  of  Magnitudes  in  Noise  Sources 

4.  Noise  in  Vacuum  Tubes 

5.  Noise   in   Semiconductors 

6.  Noise  in  Electromagnetic  Radiation 

7.  Noise-generating  Equipment 

8.  Noise  Measurements  and  Techniques 

9.  Design  of  Low-noise   Equipment 

10.  Application    of    Fourier    Analysis    to    Noise 
Problems 

11.  Noise  in  Communication  Systems 


INTERNATIONAL  PROJECTIONIST 

Post  Office  Box  6174 

Minneapolis  24,  Minnesota 

Please  send  me  a  copy  of  "Electrical  Noise" 

by  William   R.   Bennett.   (I   enclose   $10.00.) 

Name     

Address   

City  &  State 


13 


MODERNIZE 
POWER   UNITS 


No  burned  contacts,  cooler 
operation,  smoother  current 
with  BE  silicon  rectifiers.  A 
model  to  replace  any  bulb 
type. 

One   year  guarantee 


BROWN  ELECTRONICS 

1717  South   St.,  ALLENTOWN,  PA. 


PROJECTIONISTS 
PREFER 

ETHYLOID 

Film  Cement-  For 
BEST  RESULTS 

Available  from 
Supply  dealers 

FISHER  MFG.  CO. 

1185  Mr.  Read  Blvd. 
Rochester,  N.Y. 


Norelco 

projection 
equipment 

Available   from 

leading  theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion      Picture      Equipment      Division 

100  E.  42nd  St.,  New  York  17,  N.Y. 


Edward  L.  Taylor  of  Rock  Hill, 
S.  C.  is  the  projectionist,  with  10 
years  operating  experience  since  the 
service.  He  was  formerly  employed 
as  projectionist  at  the  Stevenson 
Theatre,  Rock  Hill,  S.  C. 

panels  and  letter  frames,  and  Wag- 
ner's changable  letters. 

The  accompanying  illustrations 
show  the  design  of  the  front;  lobby 
with  its  oval  refreshment  counter,  and 
the  auditorium  with  its  Ideal  chairs, 
and  its  carpeted  aisles. 

The  projection  room  is  18  by  20 
feet,  with  ceiling  height  10  ft.  It  is 
completely  fireproof,  of  finished 
block  wall  and  cement.  Floors  and 
walls  sealed  and  painted. 

Projection,  sound  and  arc  lamp 
equipment  include:  Century  CC  pro- 
jectors with  Century  R5  reproducers. 
Magna-Sync  penthouse  reproducers 
for  stereo.  Lamps  are  Peerless  Mag- 
na-Arc  and  65  amperes  D.  C.  power 
supply  is  from  ventilated  Strong 
vertical  selenium   rectifiers. 

Circuitry  of  the  equipment  is  com- 
posite but  conventional,  with  im- 
provement modifications  added  by 
Carolina  Sound  Equipment  Service, 
who  designed,  engineered,  and  super- 
vised installation  of  all  booth  equip- 
ment at  the  Cinema.  This  includes 
all  projection  and  sound  equipment, 
theatre  intercommunication  System, 
close-in  screen  curtain  controls,  auto- 
matic screen  masking;,  remote  con- 
trols, and  "High  Fidelity  Ceiling  Sur- 
round" speakers. 

Century    W5-17    optical    and    Cen- 


tury-Altec stereo  magnetic  four  chan- 
nel sound  amplifiers,  sold  by  Stand- 
ard Theatre  Supply  Co.,  are  being 
used  in  two  84  in.  rack  mountings. 
Special  sound  control  pre-amplifiers 
and  switching  panels  custom  designed 
by  Carolina  Sound  Equipment  Ser- 
vice permit  operation  of  front  stage 
public  address  and  "Sound  Reinforc- 
ing" facility  through  the  optical 
sound  amplifier  channel  and  the 
ceiling  "surround"  speakers. 

A  booth  microphone  also  is  provid- 
ed for  use  in  paging  or  making  an- 
nouncements to  the  audience  through 
the  "surround"  auditorium  speakers. 
This  reinforcement  and  its  PA  func- 
tion works  very  well  with  minimum 
acoustic  feedback  when  cardioid 
directional  microphones  are  used. 
Special  loading  switches  are  provided 
to  transfer  the  output  of  the  optical 
amplifier  from  the  center  stage 
speaker  channel  to  the  ceiling  "sur- 
round" speakers  since  these  are  also 
used  as  fourth  track  effects  channel 
from  stereo-magnetic  film  operation. 

The  optical  amplifier  rack  is  pro- 
vided with  a  selective  channel  stereo- 
optical  -  PA  output  monitor  with 
level  control. 

Special  input  selector  switch  is 
provided  to  permit  use  of  the  Century 


Also  200  other  Models  of  Power  Supplies 
and  Battery  Chargers.  Write  for  Catalog. 

CHRISTIE  ELECTRIC  CORP. 

34123     W.  67th  St.,  Los  Angeles  43,  Calif. 


14 


International  Projectionist        June  1963 


»  AUTHORITATIVE 
» COMPREHENSIVE 
» PRACTICAL 


Acclaimed  by  leading  technicians  in 
the  industry  as  the  most  comprehen- 
sive and  down-to-earth  handbook  pub- 
lished to  date  on  the  subject  of  motion 
picture  projection.  Ideally  suited  for 
study  and  reference  by  your  opera- 
tors. 


ROBERT  A.  MITCHELLS 


MANUAL  OF  PRACTICAL  PROJECTION 


HANDY     5'  2" 


SIZE     —    4<50     PAGES 


ILLUSTRATED     —      CROSS      INDEXED      FOR      EASY      REFERENCE 


*  Here  is  one  of  the  most  help- 
ful works  ever  published  for 
the  motion  picture  projection- 
ist. A  handsomely  bound  and 
profusely  illustrated  compila- 
tion of  the  BEST  of  the  Robert 
A.  Mitchell  articles  that  have 
appeared  in  "International 
Projectionis  t,"  revised, 
brought  up  to  date. 


*  The  author  covers  clearly 
and  thoroughly  every  aspect  of 
motion  picture  projection,  pre- 
senting his  material  in  easily 
understood  language — not  too 
technical,  yet  technically  ac- 
curate. The  Manual  is  divided 
in  8  sections  and  contains  30 
chapters  —  a  valuable  refer- 
ence work  no  progressive  pro- 
jectionist should  be  without. 


! 


SECTION      HEADINGS 


(1)  Film;  (2)  The  Projector;  (3)  Projection  -  Optics,  Screens;  (4)  The  Arc  Lamp; 
(5)  General  Projection  Practice;  (6)  Motors,  Generators,  and  Rectifiers;  (7) 
Sound   Reproduction   Systems;    (8)    Projection   of  Color   and   3-D   Films,   Formulas. 


ORDER  YOUR  COPY  TODAY  *  USE  THIS  HANDY  FORM 


INTERNATIONAL     PROJECTIONIST 
Post    Office    Box    6174 
Minneapolis  24,    Minnesota 

Gentlemen:    please   send    me  copy    (copies    of    ROBERT    A.    MITCHELL'S    MANUAL     OF 

PRACTICAL    PROJECTION.    Enclosed    is    my    check     (or    money-order)    for    i 


NAME 


ADDRESS 


CITY 


ZONE 


STATE 


$6.oo 


per    copy 
including    postage 


Booth   Left   Projector   Assembly   with    Sound   and   Control    wiring    Channel 
Box  Method  shown. 


W5-17  optical  amplifier  with  mon- 
Aural  phonograph  input,  pre-ampli- 
fier  PA  input,  mixer  or  FM  radio 
and  the  fourth  channel  stereo  mag- 
netic pre-amplifier  switcher.  Normal 
function  of  the  Amplifier  is  optical 
sound  from  number  2  stage  center 
speaker. 

Stereo-phono  record  player  repro- 
duction ( 2  channel )  is  used  for  inter- 


mission or  incidental  music  record- 
ings. A  novel  and  enhanced  reproduc- 
tion effect  is  secured  from  stereo  re- 
corded records  through  use  of  the 
number  2  stage  channel  speaker  for 
the  number  1  channel  stereo  and  the 
Hi  Fi  flush  ceiling  "surround"  speak- 
ers for  the  number  2  stereo-phono 
channel.  The  public  is  very  congni- 
zant  of  the  improvement  in  sound 
reproduction  quality,  often  question- 


ing whether  recordings  heard  are 
from  tape  or  film. 

The  Cinema  Theatre  auditorium 
has  some  "live"  acoustic  resonant 
tendencies  at  voice  fundamental  fre- 
quencies due  to  the  absence  of  drape 
or  wall  fabric  materials  on  side  and 
rear  walls  or  ceiling. 

Acoustic  plaster  is  used  over  the 
rear  curved  auditorium  cement  wall. 

The  ceiling  consists  of  eleven  tilted 
panels  in  three  large  sections.  These 
panels  consist  of  steel  angle  iron 
frames  and  metal  lath,  covered  with 
acoustic  plaster.  They  are  spaced 
from  and  suspended  by  steel  wire 
and  anchor  bolts  from  the  pre-cast 
concrete  ceiling  beams  and  cement 
beam  stems.  This  spacing  and  "tilt" 
installation  provides  a  variable  acous- 
tic pocket  but  with  negligible  surface 
absorption.  The  side  walls  to  ceiling 
consist  of  perforated  and  corrugated 
aluminum  over  fiberglass  insulation, 
decorative  as  well  as  fireproof. 
Resonant  damping  so  acoustically  de- 
sirable to  securing  intimate  screen 
presence  from  stage  speaker  repro- 
duction is  minor,  but  the  decorative 
effect  and  new  commercial  materials 
design  is  modern  and  unique.  In- 
direct auditorium  lighting  is  provided 
around  ceiling  panels  and  is  best 
controlled  using  conventional  Mazda 
multi-colored  tungsten  lighting  strips 
and    motorized    dimmer.  iP 


XENON  Projection  Lamps 


Continued  from  Page  10 


mirror,  the  light  will  become  bluish — an  excessively  high 
color  temperature.  In  either  case,  the  light  will  become 
annoyingly  dim. 

Xenon   Arc   Always    Daylighr-Whire 

The  xenon  arc  is  free  from  both  these  causes  of  color 
change.  It  emits  light  having  a  constant  color  tempera- 
ture of  about  7,000°  regardless  of  current  changes, 
which  affect  only  the  brightness  of  the  emitted  light. 
There  are  no  variations  in  color  over  the  emitting  area 
( the  xenon  arc  between  the  two  tungsten  electrodes ) ,  and 
there  is  no  burn-away  of  electrodes  to  introduce  dis- 
turbances in   the   optical   focus. 

Though  smooth  and  continuous,  the  spectrum  of  the 
high-pressure  xenon  discharge  reveals  a  moderate  emis- 
sion peak  in  the  blue;  but  the  spectrum  has  no  dark 
gaps;  and  the  blue  peak  introduces  no  perceptible  visual 
effects  or  distortion  of  the  colors  in  color  prints. 

The  invisible  portions  of  the  xenon-lamp  spectrum 
produce  unimportant  physical  effects.  Xenon  radiation 
is  proportionately  richer  in  ultraviolet  radiation  than 
is  the  HI  carbon  arc,  and  quartz  transmits  ultraviolet 
rather  freely.  Ultraviolet  rays  act  upon  the  oxygen  of 
the  air  to  produce  ozone,  a  gas  which  is  perceptible 
to  the  projectionist  by  its  chlorine-like,  but  not  un- 
pleasant, odor.  Ozone  does  no  harm  in  the  small  quan- 
tities produced  by  projection  light  sources. 

just    beyond    the    red    end    of   the   visible   spectrum 

16 


of  xenon  we  find  a  rather  large  energy  peak.  This  is  in 
the  infrared  region.  Infrared  rays  contribute  nothing 
to  the  luminance  of  a  light  source,  but  increase  the 
heating  effect  of  its  radiation.  The  xenon  infra- 
red peak  is  nevertheless  neither  intense  enough  nor  broad 
enough  to  require  use  of  heat  filters  where  these  would 
not  be  required  by  other  considerations.  Lumen  for 
lumen,  xenon  radiation  is  a  trifle  more  heat-producing 
than  HI  carbon-arc  radiation,  rather  cooler  than  LI  arc 
radiation,  and  considerably  cooler  than  tungsten-filament 
radiation. 

Its  color  temperature  of  7,000°  K  makes  xenon  light 
an  extremely  close  match  for  diffused  daylight  or  Stand- 
ard Source  C.  The  match  is  probably  exact  after  the 
xenon  light  has  passed  through  film,  lenses,  and  port 
glass,  and  undergone  reflection  from  the  screen  surface 
as  well  as  from  the  silvered  lamphouse  mirrors,  all  of 
them  elements  which  tend  to  yellow  the  light  and  thereby 
lower  the  color  temperature.  It  is  interesting  to  note  that 
diffused  daylight  (approximately  6,500°  K)  has  been 
chosen  as  the  standard  white  for  both  black-and-white  and 
color  TV  picture  tubes. 

The  physical  structure  and  operation  of  the  xenon 
short-arc  bulb  will  be  described  next  month — mighty  im- 
portant considerations  for  the  thousands  of  projectionists 
who  may  soon  be  called  upon  to  operate  this  clean, 
convenient,  and  very  pleasing  light  source. 

(To  Be  Concluded) 

International  Projectionist        June  1963 


The  grand  foyer  retains  the  sweep  of  the  old  Empire 
Theatre  promenade,  and  features  curved  sales  counter  for 
soft  drinks,  confections  and  cigarettes. 


The  projection  room  with  two  Philips  70-35  mm  projec- 
tjrs,  fitted  with  Ashcraft  Super  Cinex  arcs,  a  Philips  FP7, 
and   a   Westrex   transistorized   sound   system. 


MGM's  New  Empire  Theatre  in  London 
Occupies  a  Famous  Site  in  Leicester  Square 


LONDON.   ENGLAND— Only  the 

outside  walls  remain  of  the  Metro- 
Goldwyn-Mayer  old  Empire  Theatre 
in    Leicester    Square,    and    the    new 

Empire  Theatre  on  this  famous  site 
is  advertised  as  the  most  luxurious 
cinema  in  Europe.  Ii  opened  in  late 
December  with  "Jumbo"  the  attrac- 
tion. 

The  new  Empire  shares  the  build- 
ing space  with  the  Mecca  Ballroom. 
with  the  theatre  above  the  ballroom — 
the  cinema  is  a  few  steps  from  the 
street  level. 

The    architect    had    to    design    the 


theatre  within  a  theatre,  leaving  the 
existing  structure  without  altering  it. 
\n\  interference  with  the  foundations 
on  Lisle  Street  and  Leicester  Place 
would  have  affected  the  stability  of 
the  retaining  walls. 

I  he  heating  and  air  conditioning 
equipment  is  in  the  sub-basement,  and 
above  this  is  the  Mecca  Ballroom. 
which  operates  many  ballrooms  in 
London.  North  Ireland  and  Scotland. 

The  new  Empire  has  a  seating  cap- 
acity of  L,330  seats,  whereas  the  old 
Empire  could  accommodate  3,500. 
In  other  words,  the  new  theatre  is  in 


step  w  ith  the  today's  economy  in  the 
industry . 

The  old  Empire's  gilt  columns, 
(lassie  freizes  and  ornate  ceiling  are 
all  pone.  In  what  was  originally  the 
circle  of  the  old  theatre  is  a  new 
luxuriously  modern  cinema,  with  the 
finest  in  projection  and  sound,  the 
latest  type  of  super-comfort  seating 
and  generous  leg  room  throughout. 

Construction  of  the  auditorium 
floor  is  insulated  so  that  it  excludes 
any  noise  from  the  dancing  in  the 
ballroom,  below  the  auditorium.  Its 
base  is  a  slab  of  concrete  five  inches 


A  rear  view  of  the  auditorium  from  the  stage  showing 
the  concealed  lighting  and  the  projection  booth,  designed 
in  consultation  with  IP  columnist  Stanley  Perry. 

International   Projectionist        June  1963 


A  view  of  the  auditorium,  which  now  seats  1,330  peo- 
ple— the  old  Empire  could  accommodate  3,500 — in  modern 
decor  with  its  ceiling  and  walls  of  plaster  tile. 

17 


thick,  steel  girders  form  walls  separa- 
ting the  auditorium  and  the  grand 
foyer. 

The  lobby  contains  four  cashiers 
booths,  faced  with  blue  Beige  marble, 
along  the  left-hand  wall.  The  vesti- 
bule contains  two  short  flights  of 
stairs  across  its  full  width.  Up  the 
stairs  the  patrons  get  a  view  of  the 
grand  foyer.  The  grand  foyer  is  130 
feet  long  and  features  a  curbing  re- 
freshment counter  where  ice  cream, 
confectionery,  soft  drinks  and  cigaret- 
tes are  sold.  It's  decorated  in  modern 
style  and  preserves  the  large  prom- 
enade of  the  old  Empire. 

The  auditorium  is  the  stadium  type 
with  642  seats  in  the  ground  floor 
and  688  chairs  in  the  stadium.  The 
auditorium  is  fan-shaped  and  like 
the  Radio  City  Music  Hall — which 
pioneered  the  lighting  design — the 
concealed  lighting  spreads  to  the  six 
facets  in  a  rainbow  of  colors  by  the 
18  three-color  circuits. 

Seating  is  staggered.  The  Ameri- 
can  Seating  Co.'s  lounge  chairs  are 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport.  Pa. 


installed.    The  seats   are   installed   at 
a  distance  of  three  feet  back-to-back. 

The  auditorium  color  scheme  is 
mink  and  gold.  The  contour  curtain 
— it  will  operate  electrically  to  any 
pre-determined  shape — is  gold.  The 
curtain  has  15  vertical  lines,  so  it  can 
raise,  tableau  or  drape.  The  vertical 
lines  are  controlled  by  15  separate 
motors  operated  from  the  projection 
room. 

Stanley  Perry,  who  is  M-G-M  pro- 
jection supervisor,  and  well  known 
to  IP  readers  because  of  his  contribu- 
tions to  this  journal,  has  designed  a 
projection  room  which  is  roomy. 
Perry,  who  had  charge  of  the  booth 
when  the  old  Empire  opened  in  1928, 
is  the  only  person  from  the  original 
staff  still  with  the  theatre. 

The  new  Empire's  projection  room 
accommodates  two  Philips  35-70  mm 
projectors,  a  Philips  FP7  projector,  a 
spotlight,  Westrex  sound  and  the 
usual  accessories. 

The  Philips  35-70  mm  projectors 
are  mounted  with  arc  lamps  by  Ash- 
craft  Manufacturing  Co.,  Super  Cinex 
running  at  135A.  The  water  supply  is 
taken  from  the  mains,  but  Ashcraft 
water-coolers  are  provided  for  stand- 
by supply. 

The  Westrex  sound  system  picks 
up  its  signals  from  the  magnetic 
heads,  but  for  optical  sound  a  Wes- 
trex photo-transistor  is  installed.  A 
pre-amplifier  and  line  amplifier  are 
fully  transistorized.  A  knob  on  the 
operating  side  of  the  pre-amplifier 
gives  change-over  between  the  six- 
track,  four-track  and  optical  sound. 

Four  picture  sizes:  the  wide-screen 
picture,  with  a  ratio  of  1.75  to  1, 
measures  40  ft.  by  23  ft. ;  the  Cinema- 
Scope  ratio  is  2.32  to  1,  the  picture 
measuring  50  ft.  by  21  ft.  6  in.;  Pana- 
vision  ratio  is  2.7  to  1.  and  the  screen 
size  is  64  ft.  by  23  ft.  6  in.;  Todd-AO 


INTERNATIONAL  PROJECTIONIST 

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Minneapolis  24,   Minnesota 

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the    actual    ratio    is   2.21    to    1,    the 
picture  measuring  60  ft.  by  27  ft. 

The  screen,  a  Perlux.  measures  63 
ft.  by  30  ft. 

Alongside  the  projection  room  is 
the  rectifier  room.  It  contains  four 
Hewittic  silicon  rectifiers,  all  operat- 
ing from  415V  three-phase  supply.  At 
the  end  of  the  projection  room  is  a 
compact  control  system  for  the  house 
and  stage  lighting. 

Other  Westrex  equipment  installed 
in  the  new  Empire  includes  two  stage 
amplification  systems,  record  playing 
system  feeding  to  18  loudspeakers 
in  the  foyer,  and  a  manager's  an- 
nouncement system.  iP 

Demand  Reported  for 
Ashcraft  Core-Lite  Lamp 

Since  the  first  installation  of  Ash- 
craft Core-Lite  arc  lamps  and  rec- 
tifiers was  made  in  the  Palace  theatre 
in  Orange,  N.  J.,  eight  other  theatre 
owners  located  in  the  New  York  sales 
area  have  installed  them,  or  have 
signed  orders  for  them,  the  National 
Theatre    Supply   Co.    reports: 

Cinema  I,  New  York  City;  Cen- 
tral theatre,  Cedarhurst,  N.  Y. ;  Stan- 
ley-Warner Theatres,  New  York; 
Strand  Theatre.  Astoria,  New  York 
City;  Plainfield  theatre,  Edison 
Township,  N.  J.;  Turnpike  theatre, 
East  Brunswick,  N.  J.;  Walter 
Reade-Sterling's  Barclay  Farms  the- 
atre, Cherry  Hill,  N.  J.,  and  a  new 
Skouras  Theatre  at  Closter,  N.   J. 

Interested  theatre  owners  were  in- 
vited to  visit  theatres  where  tests  were 
conducted. 

The  report  states  that  in  a  compar- 
ative test  recently  conducted  at 
Charles  Moss'  Central  theatre  in 
Cedarhurst,  between  a  Core-Lite  lamp 
burning  an  11mm  x  17%"  black  ro- 
tating positive  carbon,  and  a  lamp 
burning  a  9mm  x  14"  copper-coated 
positive  carbon,  the  Core-Lite  gave 
notably  uniform  light  distribution  de- 
spite the  necessity  to  use  projection 
lenses  of  S^-inch  E.  F.  for  Cinema- 
Scope,  and  214-inch  lenses  for  stand- 
ard because  of  a  47-ft.  picture  at  90 
ft.  throw. 

Foot-lambert  readings  were  taken 
by  Larry  Orthner  of  the  C.  S.  Ash- 
craft Manufacturing  Co.;  Milton 
Berk,  supervisor  of  projection  of  B. 
S.  Moss  Theatres;  and  Allen  Smith 
of  National  Theatre  Supply.  Accord- 
ing to  the  readings  reported,  the  Core- 
Lite  developed  an  increase  of  61% 
in  side  lighting  over  the  lamp  burn- 
ing the  9mm  copper-coated  carbon. 
Core-Lite  distribution  was  81%, 
compared  with  53%.  iP 

International  Projectionist        June  1963 


Today's  audiences  respond  to  technical  quality  in  showmanship.  .  .quality  that  starts  with  sharp 
negatives  and  sharp  prints.  So,  go  Eastman  all  the  way— negative  and  print  stock.  And  always  give 
the  laboratory  time  to  do  its  job  right.  Most  important,  it  you  have  questions— production,  processing, 
and  projection— always  get  in  touch  with  Eastman  Technical  Service.  For  more  information  on  this 
subject,  write  or  phone:  Motion  Picture  Film  Department,  EASTMAN  KODAK  COMPANY,  Rochester 
4,  N.  Y.  Or— for  the  purchase  of  film:  W.  J.  German,  Inc.,  Agents  for  the  sale  and  distribution 
of  EASTMAN  Professional  Film  for  Motion  Pictures  and  Tele-  ■■■■■■■■■»■■■■■■■■■»■■  ■  ■  rr 
vision.  Fort  Lee,  N.  J.,  Chicago,  III.,  Hollywood,  Calif.  ^35!^lPSy2,^E^BSE^3 

« ■  ■■■■«»«■■■»»■■■■■■» 


CARBONS,  INC 

Thru  Lorraine  Arc  Carbons,  distributors  of 

"ORLUX"   arc   carbons   to  the_  Motion   Picture    Industry 
"ACTINA"    carbons   to  the   Graphic  Arts    Industry 
"SOLAR"   carbons   to   the    Environmental   Sciences    Industry 


'PtaucUty  rf<mau*tce&  t6e  ^onmatiott  a£  tfo  TtectA 


DIVISION 
for  LAMPHOUSES   and   POWER   SUPPLIES 


* 


' 1 1 1  r  1 1 1  iTTrrrn 


miiiiiiniiiiii' mi 


iiimiiuiiiim "Cf| 


Employing  the  neivest  scientific  break- 
through in  improved  light  source  for  pro- 
jection,  XENON! 


450 
900,      1600, 
2500     watts 


_  by    "Cinemeccanica"  .  of   Milan,    Italy, 

/C  eTJ-J-  OJ\f       outstanding  motion  picture  equipment 

-     '      manufacturer. 


y.ETJR-OJ}f 


by  Christie  Electric  Corp.,  manufac- 
turers of  the  finest  in  power  supply 
equipment. 


XeTRON  Lamphouse,  complete  with  associated  optics,  heat  transmitting 
hard,   front-coated    16"   reflector,   auxiliary   mirror  and   starting   devices. 


I  his  advanced  "XENON  Age"  development  makes  possible  a 
degree  of  light  brilliance,  reliability  and  performance  hereto- 
fore  unknown. 

Exclusive  patented  features  including  color  correction  and 
balanced  optics  in  the  XeTRON  lamphouses  make  it  possible 
to  duplicate  the  Kelvin  temperature  of  the  high  intensity 
carbon    arc    in    the    450    to    2500    watt    range. 

The  large  lamphouse  can  be  used  with  900  watt,  1600 
watt  and  2500  watt  lamps  and  are  recommended  for  picture 
widths  up  to  45  feet.    (2500W). 

The  XeTRON  CX  lamphouse  stands  alone  in  its  field  as  a 
very  compact,  highly  efficient  unit  designed  especially  for  the 
small  art  theatre  or  screening  room.  It  will  also  replace  the 
750  and  1000  watt  incandescent  type  lamps  in  studio,  labor- 
atory and  processing  applications.  It  can  deliver  up  to  three 
times  the  illumination  of  the  750-1000  watt  incandescent 
bulbs  and  with  a  Kelvin  temperature  comparable  with  that  of 
the    high    intensity    carbon    arc. 

The  reputable,  unique  Lorraine  Carbons  Customer  service 
by  Field  Technicians  will  be  available  in  this  new  XeTRON 
Division. 


Literature  on  Request. 
Franchise  dealerships  available. 

A  division  of    CARBONS,   Inc.     Boonton,  N.  J. 


XeTRON  CX  lamphouse  with 
450  watt  bulb.  Equipped  with 
5"  reflector  and  diffuser.  Will 
replace  750-1000  watt  incan- 
descent lamps  and  provide 
three  times  the  light  flow  with 
Kelvin  temperature  similar  to 
that  of  the  high  intensity  car- 
bon   arc. 


XeTRON  Silicon  Power  Supplies 
are  built  by  Christie  Electric  Corp., 
meet  the  exacting  requirements  of 
the  Xenon  bulb  manufacturer.  This 
assures  full  value  from  the  bulb 
warranty.  The  normal  bulb  life  is 
extended  by  hundreds  ot  hours  due 
to  design  to  meet  Xenon  bulb  re- 
quirements. Other  operational  char- 
acteristics such  as  low  current  rip- 
ple, proper  no  load  voltage  and 
current  control  facilities  are  pro- 
vided. 


'  o 0« 


INTERNATIONAL 


George  Kleiser,  Projectionist,  is 
shown  with  one  of  the  Norelco 
Universal  70/35mm  Projectors 
in  the  projection  room  of  the 
Cheltenham  Theatre,  Philadel- 
phia,   Pa. 

The  Cheltenham,  a  1,200  seat 
shopping  center  house,  is  one  of 
some  20  Stanley  Warner  theatres 
now  equipped  with  Norelco  70/- 
35mm  projectors.  Chief  projec- 
tionist at  the  Cheltenham  is  Wi 
liam  Braunewell.  Story  on  page 
11. 


~rary  of  Congress 
ier  Division     (o368X) 
Washington  25,  .D.C. 


JULY 
VOLUME  38 

40c  A  COPY 


1963 
NUMBER  7 

$3.00  A  YEAR 


rT 


A  Scene  From  America's  Projector  Carbon  Center. 


X-ray  reveals  breaks  and  voids  in  positive  projector  carbon  cores 


"The  x-ray  eyes  of  our  inspectors  are  your 
assurance  of  perfect  projector  carbon  cores'' 


ill- 


You  can't  judge  a  movie  by  its 
title.  And  you  can't  judge  a  pro- 
jector carbon  solely  from  the 
outside.  That's  why  carbon  in- 
spectors in  our  plant  in  Fostoria, 
Ohio,  test  every  carbon  from  veryUohnson 
the  inside  out  —  with  modern  x-ray  equipment. 
As  an  extra  safeguard,  our  inspectors  are  paid 
a  premium  for  every  imperfect  carbon  they  re- 
ject and  scrap. 

Shown  above  is  our  x-ray  room,  through  which 
all  positive  carbons  must  pass  on  a  belt  contain- 
ing from  6  to  20  carbons,  depending  on  size.  The 
assignment  is  to  weed  out  carbons  with  voids  or 


-says  VERYL  JOHNSON 

National  Carbon  Sales  Engineer 

breaks  in  their  rare  earth  cores  —  the  key  to  un- 
interrupted burning  and  maximum  light  quality. 

As  a  further  inspection  safeguard,  operators 
of  this  x-ray  equipment  stay  keen  and  alert  by 
changing  off  every  30  minutes! 

Quality  manufacturing  and  precision  testing 
are  only  a  part  of  the  "National"  projector  car- 
bon story.  For  45  years  National  Carbon  Com- 
pany has  provided  the  motion  picture  theatre 
industry  with  unsurpassed  technical  service. 

Our  Sales  Engineers  are  equipped  with,  and 
are  specialists  in  using,  today's  most  modern 
test  devices  for  assuring  more  screen  light  per 
projector  carbon  dollar! 


Contact 

Mr   National  Carbon 


UNION 
CARBIDE 


"National"  and  "Union  Carbide"  are  registered  trade-marks  for  products  of 

NATIONAL  CARBON   COMPANY 

Division  of  Union  Carbide  Corporation  .  270  Park  Avenue  •  New  York  17,  N.  Y. 
In  Canada    Union  Carbide  Canada  Limited,  Toronto 


_ 


INTERNATIONAL 

PROJECTIONIST 

Including  a  special  Audio-Visual  section  relat- 
ing to  the  operation  and  maintenance  of  A-V 
equipment  in  the  educational  and  industrial 
Jiolds. 


Volume  38 


July,  1963 


No.  7 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO   ASSOCIATES 

National  Advertising  Representatives 

545  Fifth  Avenue,   New  York    17,  N.   Y. 

Telephone    Murrayhill    7-7746 

(Area   Code   212) 


IN   THIS   ISSUE 

Xenon    Projection    Lamps 

By  ROBERT  A.  MITCHELL 
Letters  to   the    Editor 

Cinerama    Single-Lens    System 

Norelco's   Improved   Projector 

The    Piggy-Back    Coronet 

News  Notes — Technical  Hints — Miscellaneous  Notes 


10 

11 

13 


MONTHLY  CHAT 


THE  EXHIBITORS'  FALSE  ECONOMY 

Many  exhibitors  have  hesitancy  on  ordering  new 
supplies  for  the  projection  room.  They  dubiously  look  on 
the  projectionists  request  for  new  items  for  the  booth 
and  doubt  whether  the  supplies  are  really  necessary. 

it's  a  form  of  false  economy,  and  so  far  as  economy  is 
concerned  it  does  not  matter  at  all.  Whether  the  supplies 
are  carbons  or  fuses  or  bulbs,  even  if  they  are  not  in  the 
quantities  requested  or  an  excess  the  surplus  will  be  used 
an)  how. 

The  same  consideration  applies  with  needed  repairs. 
Nothing  is  gained  by  postponing  them  except  the  trifling 
benefit  that  can  result  from  spending  the  same  money 
next  month. 

In  the  case  of  needed  repairs,  the  advantage  is  in 
doing  it  now.  lest  the  machine  break  down  in  the  middle 
of  show,  which  will  embarrass  the  management  and  the 
theatre,  too.  but  the  damage  that  will  be  done  to  the 
machine,  might  be  b\   far  the  most  costly. 


Exhibitors    Not   Technical-Minded 

Most  exhibitors  and  theatre  managers  are  not  too 
technical-minded.  The  exhibitor  and  the  manager  must 
remember  that  the  projectionist  in  their  theatre  is  a  skilled 
mechanic,  and  he  has  the  know-how  about  the  machines 
he  cares  for.  If  he  recommends  that  supplies  or  needed 
repairs,  he  doesn't  do  it  for  his  convenience  or  waste 
money  for  the  theatre. 

Another  false  economy  is  found  in  making  temporary 
or  inadequate  repairs  to  the  machines  in  the  projection 
booth.  That  kind  of  penny-pinching  defeats  itself.  For 
the  repair  has  to  be  done  over  again.  This  is  another 
example  of  false  economy  in  that  it  will  cost  for  two 
jobs  of  repairing  instead  of  one. 

Buying  an)  equipment  or  supply  item  that  will  not 
stand  up  well  in  service,  is  another  example  of  false 
economy.  Buying  any  piece  of  equipment  so  expensive 
to  maintain,  or  that  will  require  overtime  or  service  fees 
because  of  inadequate  accessibility,  is  another. 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
International  Projectionist  Publishing  Co.  division  of  The 
Northern  Publishing  Co.,  Post  Office  Box  6174,  Minneapolis 
24,  Minnesota.  Editorial  offices,  1645  Hennepin  Avenue, 
Minneapolis  3,  Minn.  Subscription  Representatives:  AUS- 
TRALIA —  McGills,  183  Elizabeth  St.,  Melbourne;  NEW 
ZEALAND — Wixon's,  Ltd.,  64  Courtnay  Place,  Wellington; 
ENGLAND  and  ELSEWHERE  —  Wm.  Dawson  &  Sons,  Ltd., 
Macklin  St.,  London,  W.  C.  2.  Subscription  Rates:  United  Stctes, 
Canada,  and  U.  S.  Possessions,  $3.00  per  year  (12  issues)  and 
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Minneapolis,  Minn.  INTERNATIONAL  PROJECTIONIST  as- 
sumes no  responsibility  for  personal  opinions  appearing  in 
signed  articles,  or  for  unsolicited  articles.  Entire  contents 
copyrighted  1963  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 


1 


The    Paradox   of    Improvements 

Another  is  the  common  reluctance  to  spend  money  for 
improvements  while  business  is  bad.  In  fact  with  good 
business  the  improvements  aren't  needed.  In  the  long 
run.  the  purpose  of  improvements  when  business  is  poor 
is  to  bring  more  patrons  and  make  business  better. 

Many  of  the  country's  theatres,  particularly  the  small 
town  neighborhood  houses,  have  worn-out  projectors, 
lamps  and  other  equipment  that  should  be  in  a  museum. 
The  poor  projectionist  has  to  call  on  his  ingenuity  to 
keep  the  show  running  night  after  night.  It  requires  a 
great  deal  of  technical  know-how  to  keep  these  museum 
pieces  running. 


"^FWaaJt*-  Qoo^u^. 


I.NTKKNATIONAL    PkOJECTIONIST  JULY,    1963 


XENON 


Projection 
Lamps 


PART  2 
CARE  AND  OPERATION 


By   ROBERT  A.   MITCHELL 


As  explained  in  the  first  installment  of  this  article, 
the  high-intensity  carbon  arc  reigns  supreme  for  the 
projection  of  motion  pictures  on  large  screens.  It  has  the 
highest  intrinsic  brilliance  of  any  man-made  illuminant, 
and  is  optically  the  most  efficient  because  of  its  concen- 
trated radiating  area.  Nevertheless,  the  xenon  short-arc 
bulb  is  a  very  attractive  substitute  for  the  smaller  "simpli- 
fied" high- intensity  carbon  arc,  and  it  has  unique  advant- 
ages which  have  already  proved  valuable  in  theatre  use. 

The  outstanding  advantages  of  xenon  lamps  are  push- 
button ease  of  operation  (no  arc  to  "strike,"  no  trimming 
of  the  lamp  with  carbons,  no  optical  variations,  no  dirty 
ash  to  soil  the  lamphouse),  an  unvarying  daylight-white 
color  of  the  light,  a  continuous,  equal-energy  type  of 
spectrum  ideal  for  the  projection  of  color  films,  a  constant 


Familiarity  with  the  operating  characteristics 
of  the  new  xenon  projection  lamp  may  soon  prove 
to  be  a  valuable  part  of  the  projectionist's  armamen- 
tarium of  technical  knowledge.  This,  the  concluding 
installment  of  a  two-part  article,  sets  forth  the 
basic  principles  and  "do's  and  don't's"  of  xenon 
lamp  operation. 

The  carbon  arc  is  still  the  undisputed  monarch 
of  motion-picture  projection  on  screens  having  a 
width  of  28  feet  and  more  (85%  matte  surface), 
but  the  convenient  and  easy-to-operate  xenon  lamp 
has  amply  demonstrated  its  value  on  matte  screens 
up  to  27  feet  wide  (and  on  wider  directional 
screens)  in  many  European  theatres  and  American 
preview  rooms. 

The  incipient  new  wave  of  prosperity  in  the 
motion-picture  industry  bids  fair  to  sweep  the 
revolutionary  new  xenon  lamp  into  thousands  of 
American  theatres  where  the  unavoidable  screen- 
light  discolorations  and  variable  output  of  the 
smaller  "simplified"  HI  arc  lamps  are  rightly  con- 
sidered incompatible  with  the  high  pictorial  quality 
of  modern  black-and-white  and  color  prints.  So 
herewith  a  practical  introduction  to  xenon! 


ANODE 


CATHODE 


FIG  1  —  Anatomy  of  the 
xenon  gas-discharge  bulb. 
Note  that  the  anode  (posi- 
tive electrode)  is  positioned 
above  the  cathode  (negative 
electrode)  when  the  bulb  is 
installed   in   the   lamphouse. 


color  temperature  regardless  of  electrical  load,  no 
troublesome  moving  parts,  absolute  cleanliness,  and  an 
overall  operating  cost  the  same  or  less  than  that  of 
simplified  HI  carbon  arcs  of  equivalent  luminous  output. 

Output's  of  Xenon   and   Carbon   Arcs 

It  was  stated  in  Part  I  that  xenon  lamps  are  suitable 
for  use  only  in  those  theatres  where  carbon-arc  lamps 
burning  no  more  than  about  55  amps,  are  powerful 
enough  to  provide  a  screen  brightness  of  not  less  than  the 
standard  minimum  of  10  footlamberts  with  the  projector 
shutter  running.  Exact  light  values  are  given  in  the  ac- 
companying two  tables. 

Table  1  lists  the  maximum  widths  of  two  common 
types  of  screen  for  10  footlamberts  (with  the  shutter) 
when  simplified  HI  arc  lamps  burning  up  to  60  amps,  are 
used.    In  conformity  with  the  customary  way  of  rating 

International  Projectionist        July,  1963 


^HS^CREEN  YOURS 

IS  !K>"  COMPETITOR^ 


Only  1  in  20  Drive-Ins,  {perhaps  your  competitor)  has  even  the  minimum 
screen  illumination  (4.5  foot  lamberts  at  the  center  of  the  screen  with  a  stand- 
ard width  aperture  and  the  shutter  running,  measured  from  a  midpoint  on 
the  ramp  center  line),  recommended  by  The  Society  of  Motion  Picture  &  Tele- 
vision Engineers. 

Which  of  these  projection  lamps  will  properly  illuminate  YOUR  screen? 


Here's  a  guide: 
PICTURE  WIDTH 

50  FOOT 

60  FOOT 

70  FOOT 


PROJECTION  ARC 


_14"  REFLECTOR     65  AMPERES. 


80  FOOT. 
90  FOOT. 


.18"   REFLECTOR     11   MM    LOW  CURRENT  RANGE. 

_18"  REFLECTOR     11  MM  HI  CURRENT  RANGE  OR 
13.6  MM  LOW  CURRENT  RANGE. 

_18"   REFLECTOR     13.6   MM    HI    CURRENT   RANGE. 

.21"  REFLECTOR     BLOWN  ARC   LOW  RANGE. 


100  FOOT  AND   UP_ 


.21"  REFLECTOR     BLOWN  ARC   HI    RANGE. 


IF   YOU'RE  FED   UP— 

with  a  dismal  boxoffice,  brighten  it  up  by  brightening  up  your  screen.  The 
theatres  with  inadequate  screen  lighting  are  the  theatres  with  the  anemic 
boxoffices. 

Strong's  complete  line  of  lamps,  includes  one  which  will  project  the  brighter, 
patron-pleasing  pictures  in  your  theatre.  Discuss  your  needs  with  your  equip- 
ment dealer  now. 


FOR  LITERATURE  WRITE— 


THE 


ELECTRIC  CORPORATION 


31    CITY  PARK  AVENUE 


TOLEDO  1,  OHIO 


A  SUBSIDIARY  OF  GENERAL  PRECISION  EQUIPMENT  CORPORATION 


luminous  powers  of  lamps,  the  lumen  values  indicate 
:he  light  flux  from  the  projector  without  the  shutter. 
(Divide  by  2  to  find  the  approximate  value  with  the 
shutter  running.) 

Table  2  supplies  similar  data  for  the  three  models  of 
xenon  projection  lamp  equipment  produced  by  the  Strong 
Electric  Corporation  of  Toledo,  Ohio. 

TABLE    1 
SIMPLIFIED   HI   CARBON-ARC   LAMPS 

Carbon  Trim 

Amps 

Lumens 

(No  shutter) 

Screen  Width  for  10  Footlamberts 

85%  Matte 


150%  Directional 

7      mm-6 

mm 

40 

7,000 

20' 

26' 

7      mm-6 

mm 

42 

8,600 

22' 

29' 

7      mm-6 

mm 

46 

10,000 

24' 

32' 

7      mm-6 

mm 

50 

11,700 

26' 

34' 

7  V2  mm-6  Vi  mm 

55 

12,500 

27' 

35' 

8      mm-7 

mm 

60 

13,100 

28' 

36' 

TABLE   2 

XENON 

LAMPS 

Xenon  Bulb  Wattac 

ie 

Lumens 

(No  shutter) 

Screen 

Width  for  10  Footlamberts 

85%  Matte 

150%  Directiona 

900   W 

4,500 

16' 

21' 

1600   W 

9,000 

23' 

30' 

2500  W 

12,500 

27' 

35' 

LACK    -A        A  + 


WIRING      DIAGRAM 
PLATE    1799 


NO.   14 
STRANDED 
WIRE 


NO.  4 
STRANDED 
WIRE 


±i± 


LINE        000 
SAFETY 
SWITCH 


FIG.  2 — Wiring  schematic  for  a  xenon  projec- 
tion lamp  powered  by  a  3-phase  rectifier. 


A  comparison  of  these  two  tables  serves  to  show  that 
the  highest-powered  xenon  projection  lamp  (the  2500-W 
model)  is  equivalent  to  a  Superex-type  lamp  burning  a 
hypothetical  7%  mm  -  6V2  mm  carbon  trim  at  55  amps, 
to  give  12,500  screen  lumens  without  the  projector  shutter 
running.  This  is  why  we  say  that  theatres  needing  more 
than  55  amps,  of  arc  current  for  adequate  screen  illumina- 
tion must  make  use  of  high-intensity  carbon  arcs. 

Xenon  lamps  have  already  proved  popular  in  hundreds 
of  the  smaller  theatres  in  Europe  and  in  dozens  of  preview 
rooms  in  the  United  States.  Their  use  in  American 
theatres  has  only  just  begun,  and  with  extremely  gratify- 
ing results  from  the  point  of  view  of  all  concerned — 
the  moviegoer,  the  projectionist,  and  the  theatre  owner. 
And  once  again  we  must  point  out  the  fact  that  color 
films  are  seen  at  their  best  when  projected  by  pure  day- 
light-white xenon  light.  The  xenon  lamp  is  undoubtedly 
very  desirable  for  the  critical  visual  evaluation  of  color 
prints  in  studio  and  laboratory  projection  rooms  because 
of  the  freedom  from  color-temperature  changes  of  this 


light  source. 


Anatomy  of  Xenon    Bulb 

The  structure  of  the  xenon  short-arc  bulb  is  simplicity, 
itself.  The  transparent  "envelope"  is  made  of  fused 
quartz,  a  material  which  is  more  resistant  to  the  softening 
effects  of  heat  than  ordinary  glass,  and  much  less  likely 
to  crack  from  sudden  temperature  changes.  Even  so, 
it  is  plain  commonsense  to  protect  the  bulb  by  preventing 
down-drafts  and  rain  from  entering  the  lamphouse 
through  ventilating  pipes. 

The  two  cone-shaped  electrodes  inside  the  strong 
quartz  envelope  are  made  of  pure  tungsten,  a  silvery-gray 
metal  which  has  a  very  high  melting  point.  The  larger 
electrode  is  the  positive  one  (anode) ,  and  is  positioned 
above  the  smaller  negative  electrode  {cathode)  when  the 
bulb  is  installed  in  the  lamphouse. 

The  bulb  is  filled  with  the  chemically  inert  gas  xenon 
under  a  pressure  of  from  8  to  10  times  that  of  the 
atmosphere.  The  pressure  increases  to  20  or  30  atmos- 
pheres when  the  bulb  is  in  operation.  Any  increase  in 
the  current  at  which  the  bulb  is  burned  increases  the 
temperature,  and  hence  the  pressure  of  the  gas  inside  it. 

Xenon,  itself  is  a  very  rare  constituent  of  the  air  ( 1 
cubic  foot  of  xenon  in  15,000,000  cu.  ft.  of  air),  and  is 
obtained  by  the  fractional  distillation  of  liquefied  air. 
This  is  the  only  way  to  get  it  because  xenon,  like 
its  sister  elements  of  the  helium  family,  forms  no  chemical 
compounds  whatever. 

Igniting   the   Xenon    Bulb 

The  flamelike  arc  in  a  xenon  bulb  is  started  by  a 
high-voltage  discharge  which  breaks  down  the  electrical 
resistance  of  the  gas  and  establishes  a  conducting  path 
between  the  two  tungsten  electrodes.  The  source  of 
momentary  high  voltage  (20,000  -  30,000  volts)  is  an 
"igniter"  device  consisting  of  an  induction  coil  and 
capacitors,  and  is  usually  installed  as  a  compact  unit 
inside  the  lamphouse  to  keep  the  high-voltage  leads  as 
short  as  possible. 

Once  a  conducting  path  has  been  established  by  the 
high-voltage  spark  (applied  for  only  a  fraction  of  a 
second),  the  regular  current  supply  for  the  lamp  takes 
over.  This  is  ordinarily  a  rectifier  designed  to  furnish  an 
initial  voltage  of  60  to  75  volts  to  establish  a  direct- 
current  discharge.  The  arc  thus  established,  the  voltage 
spontaneously  drops  to  the  normal  operating  value  of  20 
to  30  volts  in  a  current  range  of  30  to  70  amperes,  de- 

(Please  turn  to  page  16) 

International  Projectionist        July,  1963 


WILL  ROGERS  TOUR  —  Ned 
Depinet  (left),  president  of  Will  Rogers 
Memorial  Hospital  and  O'Donnell 
Memorial  Laboratories,  exchanges  greet- 
ings with  Richard  F.  Walsh,  interna- 
tional president  of  IATSE,  during  a 
tour  of  the  hospital  and  laboratories  at 
Saranac  Lake,  N.  Y.  During  the  meet- 
ing Walsh  was  appointed  chairman  of 
the  executive  committee  and  reelected 
to  his  post  as  chairman  of  the  board  of 
directors.  iP 

K.  \.  ROSENBLATT 

Edward  \.  Rosenblatt  ~>2.  of  Sher- 
brook  Drive.  Charlotte,  N.  C.  died 
in  late  spring  in  a  loeal  hospital. 
"Eddie"  a>  he  was  well  known  to 
motion  picture  exhibitors  and  pro- 
jectionists and  his  many  friends 
throughout  the  two  Carolinas.  was  a 
sound  engineer  and  assisted  many 
independent  exhibitors  to  achieve 
good  operation  during  the  period 
when  television  was  making  its 
strongest  debut  in  the  Carolinas. 

I.oved  bv  all  who  knew  him  or 
ever  had  dealings  with  him,  "Ed" 
began  to  diversify  in  business  about 
1959  and  established  with  his  associ- 
ates a  manufacturers  agency  distri- 
buting parking  gates  and  municipal 
fire  and  police  department  technical 
equipment,  a  business  in  which  he 
was  very  successful.  In  addition  to 
his  mother,  survivors  include  his 
wife,  Marv  Nell  Rosenblatt:  two 
sons,  James  \shlej  and  John  Ed- 
ward at  home.  His  wife.  Mary  Nell 
lias  long  been  associated  with  the 
Carolina  and  Atlanta  "Wompis" 
and  heartfelt  sympathy  by  the  indus- 
try is  ixraciouslv  extended.       R.W.R. 

iP 
H.  A.  HARTMAN  DIES 

Harry  A.  Hartman.  70.  retired 
tiieatre  engineer  for  the  Wil-Kin 
J  heatre  Corp.  for  many  years  and 
traveling  engineer  for  theatres  in  the 
Carolinas  for  the  past  20  years,  died 
recently  at  his  home  at  1100  Andover 
Road.  Charlotte.  N.  C.  Mr.  Hartman 
made  many  friends  in  the  Carolinas 
durins  the  early  transition  to  sound 
and  Cinemascope  motion  pictures  and 
his  many  friends  express  sympathy 
to  his  surviving  family.  R.W.R. 

iP 


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NOTICE:    we  welcome  inquiries  for 

TERRITORIES  FROM  SUPPLIERS  AND 
DISTRIBUTORS. 


International  Projectionist        July.  1963 


BETTERS  TO  THE  EDITOR 


For  a  second  time  I  find  myself 
tempted  to  contribute  something  to 
IP  of  a  nostalgic  rather  than  scienti- 
fic nature.  |  See  WHO  REMEMBERS 
WHEN?  in  IP  for  September  1959, 
page  20).  However  my  recent  acqui- 
sition of  an  old  Powers  6-B  mechan- 
ism as  a  museum  piece  brought  to 
mind  a  most  amusing  incident  of  the 
silent  days  which  I  cannot  resist 
passing  along. 

In  the  early  20's  I  served  for  a 
time  as  projectionist  I  they  called  me 
"that  operator"  then)  for  a  mid- 
western  college  where  movies,  open 
to  the  general  public,  were  run  each 
week-end  in  the  gymnasium.  The  pro- 
jectors consisted  of  a  pair  of  used 
Powers,  with  hand-fed  AC  arcs  ener- 
gized bv  one  Bell  and  Howell  com- 
pensator. (One  arc  had  to  be  turned 
off  as  the  other  was  struck,  a  pro- 
cedure which  gave  a  nice  fading  ef- 
fect  on   changeovers. 

The  "projection  room"'  which  was 
located  at  and  partially  over  the  edge 
of  a  small  gallery  at  one  side  of  the 
gymnasium,  was  an  asbestos  board 
enclosure  with  holes  sawed  out.  more 


or  less  rectangular  in  shape,  for  pro- 
jection  and  observation. 

Drop  fire-shutters  were  conspicu- 
ous bv  their  absence.  "Ventilation" 
was  provided  by  the  simple  expedi- 
ent of  leaving  the  door  open  so  that 
"fresh"  air  from  the  audience  would 
flow  in  through  the  open  ports. 

Now  this  little  incident  that  I  am 
about  to  recount  couldn't  possibly 
have  happened  had  it  not  been  for  a 
series  of  existing  conditions  to  all 
intents  and  purposes  completely  un- 
related. (Note:  Those  of  the  young- 
er generation  who  never  ran  a  Pow- 
ers projector  will  either  have  to  use 
the  imagination  or  refer  to  the  early 
editions  of  Richardson's  Handbook 
of  Projection  to  visualize  some  of 
the  action. )  Here,  then,  were  the 
existing   conditions: 

1.  There  was  no  glass  in  the  ports. 

2.  There  was  a  shelf  extending 
from  just  below  the  mechanism  of 
each  projector  to  the  bottom  of  its 
port,  forming  a  convenient  place  for 
tools,  oil  can,  etc..  but  when  the 
ensuing  events  took  place  there  was 


■Just    try    to   scratch  or  destroy  the  harder 
than  glass  front  coating  of  a 

TUFCOLD 

FLAKE  AND   PEEL-PROOF 

FIRST  SURFACE 

COLD  REFLECTOR 

—then  you'll  see  why  it's 

Guaranteed  2  Years 

-TWICE  AS  LONG  against 
coating  deterioration 


Replace  uour 
old  reflect  or  4  now 


nothing    on    the    shelf    of    the    right- 
hand  projector. 

3.  The  Powers  mechanism  ( we 
oldsters  will  recall  I  had  two  remov- 
able plates  on  the  front.  One  carried 
the  lens  mount,  and  a  smaller  one 
below  bore  the  patent  information.  I 
had  removed  the  latter  to  facilitate 
cleaning  inside  the  mechanism. 

4.  The  Powers  mechanism  had  a 
"loop-setter."  Again,  for  the  younger 
generation,  let  me  explain  that  this 
device  consisted  of  a  roller  between 
the  intermittent  and  take-up  sproc- 
kets around  and  clearing  which  the 
lower  film  loop  was  formed.  If  the 
lower  loop  became  lost,  the  tighten- 
ing of  the  film  lifted  the  roller  which 
in  turn  threw  the  take-up  sprocket 
out  of  gear  until  a  new  loop  formed. 
The  re-forming  loop  permitted  the 
roller  to  drop  back  to  its  normal 
position  thus  starting  the  take-up 
sprocket  again.  "The  whole  train  of 
operation  is  automatic  —  its  results 
instantaneous."  ( Richardson's  4th 
Edition  Handbook  of  Projection, 
page  649,   Instruction  No.  40.) 

Now  for  the  action.  One  evening 
when  the  first  show  was  well  along 
and  I  was  threading  the  left  projec- 
tor, an  unearthly  scream  sounded 
from  the  audience.  I  thought  little  of 
this,  however,  since  the  feature  was 
a  mystery  melodrama  and  there  was 
a  large  sprinkling  of  youngsters  in 
the  audience.  But  all  of  a  sudden  an 
usher  rushed  into  the  booth  shout- 
ing: "Stop  the  show,  quick!"  Not 
being  unduly  excitable  I  asked  him: 
"How  Come?,"  since  I  had  a  good 
picture  on  the  screen  and  the  ma- 
chinery sounded  normal.  He  got  as 
far  as:  "A  woman  .  .  ."  when  an- 
other scream  hit  the  air.  Coin- 
cidently  my  eye  caught  a  strip  of 
film  gliding  snake-like  from  the  open 
mechanism  of  the  right-hand  pro- 
jector along  my  empty  tool-shelf  and 
out  the  open  port. 

Instantly  I  flipped  the  dowser,  shut 
off  the  motor,  and  rushed  out  to  the 
edge  of  the  gallery  and  looked  over. 
By  this  time  the  house  lights  had 
been  turned  on  and  all  eyes  were 
focused  on  two  dear  old  ladies  who 
were  sitting  under  the  gallery  just 
below  the  right-hand  projector  port. 
They  were  petrified  with  fright,  with 
\  irtually  a  hundred  feet  of  nitrate 
film  entwined  about  their  necks  and 
arms  with  more  draped  over  their 
laps  and  on  down  around  the  floor! 

I  rushed  down  and  extricated  the 
ladies,  tried  to  calm  them  down, 
apologized  for  the  annoyance,  clean- 
ed up  the  film  and  then  went  back 
upstairs  to  see  what  had  actually 
happened.  Then  I  discovered  that  the 
loop-setter  had  been  activated  and 
then  become   stuck,   thus   immobiliz- 


International  Projectionist        July,  1963 


ing  the  take-up  sprocket  while  per- 
mitting the  film  to  run  off  the  inter- 
mittent sprocket,  and.  because  of  the 
shelf,  the  lack  of  a  front  plate,  and 
the  open  port,  to  continue  on  out  and 
downward. 

This  was  one  occasion  when  two 
members  of  an  audience  certainly  go/ 
the  feel  of  the  picture. 

Dm.  C.  Blanchard 

Department   of   Audio    Visual 

Education 

Claremont   Graduate   School 

Claremont,  California 

There  are  lots  of  old-tirners  in  the 
projection  game  that  had  experi- 
ences such  as  this,  and  we  think  it's 
pleasant  reading  about  them.  We 
thank  Mr.  Blanchard  and  offer  this 
column  for  others'  reminiscences. 
Ed.  iP 

Spirit  of  1-7-7-6 
At  25-30  Club 

The  Spirit  of  76  prevailed  at  the 
final  meeting  of  the  summer  for  the 
25-30  Club  at  the  Hotel  Claridge  in 
New  York.  Good  will  toward  all  was 
the  keynote  of  the  speeches,  short 
and  inspiring. 

To  an  assemblage  well  aware  of  a 
troubled  world,  the  speakers  stressed 
their  gratitude  to  the  projectionists 
for  a  minimum  of  labor,  health  and 
political  worries.  "For  this  we  should 
be  thankful."  declared  president 
William  C.   Anderson. 

Abraham  Kalmus.  returning  from 
a  world-tour  of  camera  wonders,  was 
honored.  His  work  was  looked  upon 
as  a  credit  to  all.  Little  else  to  do 
by  way  of  appreciation  but  for  Abe 
and  Bea  Kalmus  to  throw  a  party, 
which  they  did.  As  Morris  J.  Rotker 
pointed  out,  "It  does  us  all  good  to 
see  the  smiling  faces  of  the  boys  as 
they  entered  this  room." 

"How  much  better  it  is  to  hear 
the  wisecracks  our  members  heard 
on  the  way  to  the  meeting  than  sly 
digs  and  unpleasant  rumors."  added 
Mr.  Rotker.  the  recording  secretary. 
And  in  good  humor  the  champ 
moocher,  name  kept  secret,  who  bor- 
rows cigarettes.  brought  hearty 
laughter.  All  but  the  man's  name  was 
revealed,  although  it  didn't  mean 
anything  because  his  theatre'  was 
mentioned  and  his  own  laughter  was 
loudest. 

The  second  Thursday  in  January, 
1%4,  was  avowed  for  the  announced 
big  annual  event  at  a  New  York 
hotel.  iP 


IA  Takes  Firm  Stand 
On  Uninspected  Film 

The  following  letter  has  been  sent 
to  all  IATSE  Operators  and  Mixed 
locals.  Film  Exchanges,  General 
Managers  and  the  Minister  of  Travel 
Publicity  for  the  Province  of  On- 
tario in  Canada  bv  the  International 
vice  president  A.  L.  Pat  Travers  in 
his  capacity  as  business  manager  of 
Toronto  Operators  Local  173: 

"The  condition  of  film  being 
shipped  to  theatres  has.  over  the  past 
years,  become  progressively  worse. 
This  is  understandable,  as  the  in- 
specting personnel  has  been  reduced 
considerably. 

"Appeals  to  the  distributors,  while 
being  recognized,  have  not  produced 
the  desired  results.  The  director, 
Theatres  Branch,  has  apparently 
withdrawn  from  film  exchange  su- 
pervision, which  has  certainly  not 
helped. 

"The  projectionist,  usually  work- 
ing alone  since  the  reduction  of 
booth  personnel,  and  with  ever  in- 
creasing responsibilities,  does  not 
have  the  time  to  repair  film  which 
should  be  received  in  good  condition 
from   the  supplier. 

"A  motion  has  therefore  been 
passed  by  Focal  173.  Toronto  Mo- 
tion Picture  Projectionists  Union,  at 


a  regular  meeting:  'That  film  will  be 
run  as  received  from  the  exchange 
or  repaired  on  an  overtime  hourly 
basis  charged  to  the  theatre.'  This 
rule  will  become  effective  at  once." 

iP 

Strong  Electric  Has 
New  Brochure  on 
Rectifier  Models,   Uses 

A  new  brochure  on  rectifiers  for 
use  as  powrer  supply  for  projection 
arc  lamps  has  been  made  available  by 
The  Strong  Electric  Corp.  Featured  is 
the  Bi-Powr  silicon  stack  transformer- 
rectifier  for  use  with  two  lamps,  now 
available  in  four  ratings:  60-85 
ampere  /35-45  volts,  75-105  ampere 
7  48-61  volts,  90-135  ampere  /  56-70 
volts,  and  120-160  ampere  /  58-75 
volts. 

The  Bi-Powr  employs  two  silicon 
stack  assemblies,  one  for  each  out- 
put. The  life  expectancy  is  greatly 
lengthened  due  to  the  fact  that  there 
is  no  "aging"  of  the  elements.  Since 
there  is  no  aging,  there  can  be  no  un- 
balance in  the  units,  and  hence,  no 
flicker  on  the  screen  caused  by  un- 
balance in  power  supply. 

A  copy  of  the  brochure  will  be  sent 
to  anyone  addressing  a  request  to  the 
Strong  Electric  Corp.,  31  City  Park 
Avenue.  Toledo  1.  Ohio.  iP 


There's    Plenty    for   You   At 

CENTURY! 

.  .  and  from  CENTURY  only 


dramatic,  New  ALL  TRANSISTOR 
sound  systems 


*True   high-fidelity, 

distortion    free. 
*Low   installation   cost, 

minimum   space   needs. 


Increased    reliability, 
less  maintenance. 
No  vacuum   tubes,    no 
photoelectric   cells. 


*and  the  only  American-made  70  mm  35 
theatre  projection  systems 


SEE 

YOUR  CENTURY 

DEALER 


.  .  .  for   bigger,   brighter   projection. 


CENTURY  PROJECTOR  CORP. 

New  York    19,   N.   Y. 


International  Projectionist        July,  1963 


Specialists  in  Light  Projection 

CARBONS,   >nc. 

through 
division 

PRESENT  THEIR  NEW 


DIVISION 

for 

LAMPHOUSES   &    POWER   SUPPLIES 


employing  the  compact  Zenon  Arc! 
featuring 

^/LeTRO-N      LAMPHOUSES 

by    Cimeneccanica    of   Milan,    Italy, 
leading  motion  picture  equipment  mfgrs. 

yLxTJZOJPf       POWER  SUPPLIES 

by    Christie     Electric    Corp.,     makers    of 
the    finest    power    supply    units. 


XeTRON  Lampnouse  with  450  watt  bulb.  Equip- 
ped with  5"  reflector  and  diffuser.  Replaces  750^ 
1,000  watt  incandescent  lamps  and  provides  three 
times  the  light  flow  with  Kelvin  temperature, 
similar   to   hi    intensity  carbon    arc. 


XeTRON  1600/2500  Lamphouse 
c.mplete  with  associated  optics, 
hear  transmitting,  hard,  front- 
ccated  16"  reflector,  auxiliary 
mirrors  and  starting  devices. 
XeTRON  Silicon  Power  Supply  by 
Christie    Electric    Corp. 


<eTRON  Lamphouse  with  450  ! 
vatt  bulb.  Equipped  with  5"  re- 
lector  and  diffuser.  Replaces 
'50-1,000  watt  incandescent 
amps  and  provides  three  times 
he  light  flow  with  Kelvin  tem- 
jerature,  similar  to  hi  intensity 
:arbon    arc. 


Literature  on  Request 
Franchise  Dealerships  Available 

division  of  CARBONS,    Inc.  Boonton,  N.J. 


New  Cimerama  Single-Lens 
Projection  System  Unveiled 


Cinerama,  Inc.  has  developed  a 
revolutionary  new  single-lens  system 
for  the  exhibition  of  motion  pictures 
in  the  Cinerama  process,  it  has  been 
announced  by  Nicolas  Reisini,  presi- 
dent and  board  chairman  of  the  com- 
pany. 

The  new  system  was  developed  by 
the  Cinerama  Camera  Corp.,  a  wholly- 
owned  subsidiary  of  Cinerama,  Inc., 
working  in  close  conjunction  with 
Tom  Conroy.  Cinerama's  vice  presi- 
dent in  charge  of  production. 

The  dramatic  Cinerama  effect, 
heretofore  obtained  only  by  the  use  of 
three  projectors,  can  now  be  achieved 
by  the  use  of  a  single  projector.  The 
system  in  effect  consists  of  four  inter- 
locking elements  -  the  newly  created 
lens,  a  special  printer  and  associated 
optics,  the  single  projector  resulting 
from  the  Company's  intensive  re- 
search and  development,  and  the 
famous  and  unique  deeply  curved 
Cinerama  screen. 

The  new  system  was  demonstrated 
at  a  screening  of  selected  footage  of 
"It's  a  Mad,  Mad,  Mad,  Mad  World," 
held  at  Cinerama's  Hollywood  Studio 
for  reoresentatives  of  the  press  and 
the  exhibition  industry.  The  comedy 
spectacular,  produced  by  Stanley 
Kramer  in  Panavision  and  Techni- 
color for  United  Artists  Corp..  will 
have  its  world  premiere  on  Nov.  7 
in  Hollywood  at  the  new  Cinerama 
Dome  Theatre,  built  by  Pacific 
Theatres  Corp. 

Mr.  Reisini,  president  of  Cinerama, 
and  Arthur  Krim,  president  of  United 
Artists,  were  present  with  Mr.  Kramer 
and  Mr.  Conroy  at  the  screening. 

Mr.  Reisini  commented:  "The  re- 
sults which  you  have  seen  demon- 
strate the  latest  achievement  in  Cin- 
erama exhibition.  Cinerama's  re- 
search and  development  has  always 
been  directed  not  only  towards  exhi- 
bition, but  production  as  well.  We 
are  pleased  to  announce  that  in  the 
earlv  part  of  next  year  we  will  have 
ready  an  enually  revolutionary  Cin- 
erama sinffle-lens  camera  and  pro- 
duction system.  It  will  then  be  pos- 
sible for  the  first  time  for  motion 
nictures  to  be  produced  and  exhibited 
in  a  single-lens  Cinerama  system." 

Mr.  ^'"mer  explained  how  he  had 
filmed  the  picture  in  Panavision  and 
Technicolor,  after  which  the  65mm. 
negative  was  printed  into  Cinerama 
proportions,  so  that  it  can  be  viewed 
on   a   cinerama    arc   of   146   degrees 


SINGLE  LENS  —  Stanley  Kramer 
(right),  producer  of  the  comedy  specta- 
cular, "It's  A  Mad,  Mad,  Mad,  Mad 
World,"  joins  two  Cinerama  executives 
in  examining  various  lens  components. 
Tom  Conroy,  (center),  Cinerama's  v  p 
for  production,  and  Gerhart  Lessman, 
Cinerama's  research  director  (left), 
worked  together  with  the  research  and 
development  staff  of  the  Cinerama 
Camera  Corp.  to  produce  the  new  Cin- 
erama single-lens  projection  system. 


horizontally,  and  55  degrees  vertical- 
ly, and  an  aspect  ratio  of  2.6  to  1. 
Thus,  the  special  optical  treatment 
adapted  the  film  to  the  deeply  curved 
wide-angle  Cinerama  screen.  Mr. 
Kramer  noted  that  the  screening  com- 
pletely fulfilled  all  expectations  as 
to  the  ability  of  the  new  single  lens 
system  to  project  the  specially-proces- 
sed negative  of  his  motion  picture 
with  the  full  scope  and  sense  of  par- 
ticipation that  is  so  much  a  part  of 
the  Cinerama  exhibition.  iP 

Lou  Selber  Heads 
Baltimore  MPO 

BALTIMORE,  MD.  —  Lou  Seiber 
was  elected  president  of  the  Local 
181.  Motion  Picture  Operators, 
IATSE,  at  a  recent  special  election. 

William  T  anee.  Sr.,  is  first  vice 
president,  Bernard  Terry  second  vice 
president  and  Norman  Marks  third 
vi^e  president. 

Maurice  Rushworth  is  business 
agent  and  Thomas  P.  Finn,  Sr.,  fin- 
ancial secretary.  Recording  secretary 
is  Irvin°  Whitehill.  and  trustees  are 
Ralph  W.  Rushworth,  Chester  Towers 
and  Roland  Bruscup.  LeRoy  Gold- 
bloom  and  Ned  Isbeck  are  the  wage 
scale  committee  and  Hal  Braswell  is 
sergeant  at  arms.  Messrs.  Seiber, 
Whitehill  and  Maurice  Rushworth  are 


delegates  to  the  AFL-CIO. 


iP 


Norelco  Introduces  Improved  70/35mm 
Projector,  The  Model  AAII  Universal 


NEW  YORK— The  North  Ameri- 
can Philips  Co..  has  announced  the 
development  of  a  new,  improved 
70  35mm  motion  picture  projector 
to  he  known  as  the  Norelco  Model 
\  \ll  L  niversal  TO  35  projector.  This 
projector  provides  main  new  features 
that  have  heen  added  to  the  popular 
and  highh  successful  equipment  first 
introduced  for  the  Todd-AO  system 
in   1955. 

Orders  for  the  new  projectors  have 
heen  accepted  1>\  theatre  supply  deal- 
er- in  all  parts  of  the  U.  S.  In  fact, 
installations  of  the  new  Model  \\ll 
70  35"s  are  in  process  in  Pittsburgh, 
I'a.:  Portland.  Oregon:  San  Juan. 
Puerto  Rico  and  Poughkeepsie.  !Y  Y. 

In  a  joint  announcement  from  Niels 
lu' en.  general  manager  of  Norelcos 
motion  picture  equipment  division, 
and  Fred  Pfeiff,  technical  manager,  it 
was  stated  that  more  than  1  <">  impor- 
tant technical  improvements  have 
be  'ii  incorporated  into  the  equipment 


by  the  famed  engineering  section  of 
the  North  American  Philips  Co. 
Vmong  them  are:  New  dual  split 
70  35  magazine  shafts  which  elimin- 
ates need  for  theatres  to  purchase 
special  35mm  reels  with  70mm 
flanges:  new  non-glare  plexiglass 
observation  window  in  projector 
door:  new  threading  guards  on  mag- 
netic shield  and  idler  roller:  new  im- 
proved intermittent  assembly:  new 
oil  vapor  leak  protection:  new  dowser 
assembly:  simplified  built-in  water 
cooling  circuit:  heavier  main  drive 
gear  set:  new  single  motor  drive; 
new  2-speed  clutch :  new  reduced  tor- 
que motor:  new  4-pole  motor  start 
contactor:    optional  optical  pre-ampli- 

I INTERNATIONAL    PROJECTIONIST  J 


fier:  new  easy  installation  lower 
compartment  door:  new  cast  alumin- 
um lamphouse  bracket  with  adjust- 
able slide  for  easy  alignment  of  lamp: 
new  spiral  gear  take-up  drive;  new 
graphite  impregnated  nylon  idler  and 
pad  rollers:  and  a  pre-wired  magnetic 
cluster  block. 

The  increasing  amount  of  70mm 
product  in  release  and  in  production, 
plus  exceptionally  large  boxoffice 
grosses  these  pictures  have  experien- 
ced, heralds  a  bright  future  for  70mm 
projection.  Norelco  states.  With  over 
150  theatres  in  the  U.  S..  and  some 
300  others  throughout  the  world 
equipped  with  Norelco  70  35"s.  Nor- 
elco's  experience  in  this  field  is  ex- 
tensive.  In  Vpril  of  this  year,  the 
•Vcadenn  of  Motion  Picture  Arts  and 
Sciences  presented  a  special  award 
for  outstanding  technical  achievement 
to  the  North  American  Philips  Corn- 
pan)  for  the  design  and  engineering 
of  the  Norelco  Universal  70  35mm 
motion  picture  projector.  I  See  story.  I 


Previous  Projector 
Wins  Academy  Award 

The  Norelco  Universal  70  35  mm. 
projector  received  one  of  the  special 
awards  from  the  Aeadeim  of  Motion 
Picture  Arts  and  Sciences  in  recogni- 
tion of  outstanding  technical  achieve- 
ment for  the  showing  of  the  newer 
wide  gauge  films.  It  is  the  first  such 
award  in  the  projection  field  since 
1059. 

Accepting  a  plaque  for  the  North 
American  Philips  Co.  was  Fred  J. 
Pfeiff.  technical  manager  of  the 
motion  picture  equipment  depart- 
ment of  the  firm.  Mr.  Pfeiff  has  been 
closely  associated  with  the  develop- 
ment of  the  70/35  mm.  projection 
system  since  it  first  became  available 
in  1055.  Originally  designed  and 
developed  through  the  joint  efforts 
of  the  American  Optical  Co.  and 
Philips,  this  projector  introduced  the 
70  mm.  Todd-AO  process — a  1957 
Academy  Award  winner — into  movie 
theatres.  Jan  Kotte  of  Norelco  is  to 
be  commended  as  the  original  de- 
signer of  this  equipment. 

Today  there  are  more  than  450 
installations  of  the  Norelco  Universal 
70/35  Projector  in  35  states,  Can- 
ada and  other  countries. 

In  receiving  the  award,  Mr.  Pfeiff 
stressed    that    motion    picture    audi- 

uly,  1963 


ences  the  world  over  are  enjoying 
greater  clarity  and  better  quality  of 
screen  images  with  less  eye  strain, 
thanks  to  the  wider  films  and  the 
award-winning  Norelco  projection 
equipment. 

And  there  are  important  benefits 
to  the  exhibitor,  Pfeiff  pointed  out. 
explaining  that  a  single  70  mm.  print 
has  been  played  for  as  many  as  1600 
runs,  film  damage  is  greatly  reduced, 
and  the  Norelco  70/35  projector  may 
be  converted  in  minutes  for  either  70 
mm.  or  35  mm.  operation,  providing 
the  theatre  owner  with  greater  ver- 
satility  in  presenting  the  latest  films. 

North  American  Philips  Company. 
Inc.  also  produces  the  new  Norelco 
25  mm.  Pulse-Lite  shutterless  pro- 
jector for  smaller  theatres,  a  35  mm. 
projector  for  arc  lamp  operation,  as 
well  as  professional  l<>  mm.  equip- 
ment. 

Built  primarily  for  70  mm.  with 
the  added  convenience  of  35  mm., 
the  Norelco  Universal  70/35  pro- 
jector enables  audiences  to  see  easily 
the  tiniest  photographic  details  in 
such  current  films  as  "Lawrence  of 
Arabia",  "Mutiny  on  the  Bounty". 
'"Cleopatra",  and  many  more  now  in 
production.  iIB 


NORELCO  Wins  Academy  Award  — 
Fred  J.  Pfeiff,  technical  manager  of  the 
motion  picture  equipment  department 
of  Norelco,  proudly  holds  award  re- 
ceived at  the  35th  Annual  Academy 
Awards.  The  Technical  Award  was 
presented  to  Mr.  Pfeiff  for  his  firm's 
development  of  the  Norelco  Universal 
70/35  mm.  projector,  an  innovation  in 
the  showing  of  wide  gauge  films. 

11 


HEYER-SHULTZ 
UNBREAKABLE    METAL  REFLECTORS 


TOP  SCREEN 
ILLUMINATION 

WILL  NOT 
PIT  OR  TARNISH 


5  YEAR 
GUARANTEE 

FACTORY 

REFINISHING 

SERVICE 


S«e  TOUr  Manufactured  by 

TAeOfre  Supp/y  Deafer  HEYER-SHULTZ,  IllC.      Cetfar  Grove,  N.  J. 


How  electrical  noise  is  produced  .  . . 
calculated  . .  •  measured  . . .  controlled 


Here  are  the  basic  facts  about  electrical  noise  — how  it  originates 
in  circuits  .  .  .  what  terms  describe  it  .  .  .  how  to  measure  it  .  .  . 
how  to  design  circuits  to  minimize  its  undesirable  effects.  The 
physical  nature  of  the  various  sources  of  noise  are  clearly  de- 
scribed, including  such  sources  as  thermal  agitation  or  resistance 
noise  .  .  .  shot  noise  in  vacuum  tubes  and  semiconductor  junctions 
.  .  .  noise  from  spontaneous  emission  of  electromagnetic  radiation 
.  .  .  and  noise  in  gas  discharges.  This  practical  book  also  explains 
auxiliary  mathematical  techniques,  and  discusses  the  relation  of 
signal  and  noise  in  various  types  of  communication  systems.  For 
ease  in  use,  the  simple  tuned  circuit  associated  with  a  device  for 
measuring  average  power  is  made  the  basic  tool  for  analyzing 
noise. 


ELECTRICAL 


270  pages,  6x9 
105  illustration* 
$10.00 


By  WILLIAM   R.   BENNETT 

Data  Communications  Consultant,  Bell  Telephone  Laboratories,  Inc. 


Each  chapter  in  this  helpful  book  begins  in 
a  simple,  practical  manner  and  works  toward 
more  complicated  examples.  For  example,  prop- 
erties of  thermal  noise  and  its  relation  to  black- 
body  radiation  are  deduced  from  basic  laws 
of  thermodynamics  and  statistical  mechanics. 
You  also  will  find  a  clear  treatment  of  elemen- 
tary quantum  mechanics  in  discussions  of  the 
maser  and  of  noise  in  semiconductors.  And,  in 
describing  noise  properties  of  various  devices, 
the  book  fills  in  your  working  background  with 
basic  facts  on  junction  diodes  —  transistors  — 
gas  discharge  tubes— klystrons— traveling  wave 
amplifiers— and  others.  Both  independent  and 
dependent  noise   sources  are   analyzed. 

In  addition  to  the  standard  theory  of  noise 
figure  and  its  significance,  a  treatment  is  given 
of  the  more  comprehensive  Haus-Adler  theory 
of  noise  measure.  Throughout,  the  book  stresses 
the  universality  of  noise-like  phenomena.  Noise 
formulas  for  diodes  and  transistors;  noise  gen- 
eration to  meet  specifications;  design  of  ampli- 
fiers for  minimum  noise  effects— these  and  many 
other  topics  "are  covered.  A  comprehensive  re- 
view of  noise  in  the  various  methods  of  signal 
transmission  such  as  amplitude  modulation  .  .  . 
frequency  modulation  .  .  .  and  the  different 
lands  of  pulse  modulation  is  included. 


12 


CONTENTS 

1.  General  Properties  of  Noise 

2.  Thermal  Noise 

3.  Distribution  of  Magnitudes  in  Noise  Sources 

4.  Noise  in  Vacuum  Tubes 

5.  Noise  in   Semiconductors 

6.  Noise  in  Electromagnetic  Radiation 

7.  Noise-generating  Equipment 

8.  Noise  Measurements  and  Techniques 

9.  Design  of  Low-noise  Equipment 

10.  Application    of    Fourier    Analysis    to    Noise 
Problems 

11.  Noise  in  Communication  Systems 

INTERNATIONAL  PROJECTIONIST 

Post  Office  Box  6174 

Minneapolis  24,  Minnesota 

Please  send  me  a  copy  of  "Electrical  Noise" 

by  William   R.   Bennett.   (I   enclose  $10.00.) 

Name  

Address 

City  &  State 


Ibigawa  Theatre 
Carbons  Introduced 
To  U.S.  Market 

NEW  YORK— Projection  carbons 
which  have  been  in  use  in  Japan  and 
internationally  for  many  years  have 
been  introduced  to  the  U.  S.  market 
through  the  import  agents  here, 
Nosawa  &  Co.,  Ltd.,  180  Madison 
Ave.,  New  York  16,  N.  Y.  Telephone 
is  LE  2-1198. 

Produced  by  the  Ibigawa  Electric 
Industry  Co.,  Ltd.,  Ogaki,  Japan,  the 
Ibigawa  carbons  are  said  to  provide 
brilliance,  steadiness  and  correct 
color  balance,  thus  affording  excellent 
projection  light  with  economy.  High 
intensity  AC  and  DC  carbons  are 
available,  the  latter  in  non-rotating  or 
rotating  positive  type.  Brochures 
from  the  agents  here  describe  trims 
and  lengths  available.  Carbons  for 
spotlight  and  studio  lamps  are  also 
available. 

Ibigawa  cinema  carbons  were 
granted  the  Ohkouchi  commemorative 
award  in  1958  because  of  the  produc- 
tion methods  used.  iP 

SPECIAL  RATES 

On  group  subscriptions  to  IP  for 
IATSE  Locals  and  audio  -  visual 
groups.    Write    for  details. 


GIVE  UP?  —  If  you  like  guessing 
games,  we'll  give  you  three  tries  at 
identifying  these  weird-looking  tri- 
angles. Or  if  you  give  up  easily,  as  we 
do,  here's  the  answer  —  they  are  pyro- 
metric  cones  used  for  telling  exactly 
when  a  batch  of  motion  picture  projec- 
tor carbons  is  ready  to  leave  the  oven 
after  the  baking  cycle.  They  are  but 
one  of  the  quality  control  techniques 
used  by  National  Carbon  Co.,  division 
of  Union  Carbide  Corp.,  to  produce 
projector  carbons  that  provide  motion 
picture  audiences  with  today's  finest 
screen  light.  Two  of  the  heat-sensitive 
cones  are  placed  in  every  baking  fur- 
nace, and  when  one  is  leaning  and  one 
sagging,  as  shown,  the  proper  tempera- 
ture has  been  reached  and  the  projector 
carbons  are  removed  for  further  pro- 
"~  cessing. 

International  Projectionist        July,  1963 


New  \  oik  —  The  Baronet  and  the  Coronet 
Theatres  occupy  a  single  building  on  Third  Ave.  at 
59th  St.  Both  theatres  share  a  facade  which  rises 
to  a  height  of  68  ft.,  but  they  have  different  en- 
trances at  street  level. 

The  cost  was  $1,500,000  when  the  Walter  Reade- 
Sterling  Group  remodeled  the  Baronet  and  put  a 
tw  in  theatre  above  it. 

Instead  of  entrance  doors  the  Coronet  has  an 
"air  curtain"  which  gives  an  unobstructed  view  of 
the  vestibule  and  lobby.  Through  the  marquee 
soffit  warm  air  is  blown  at  high  velocity,  passing 
continuously,  to  form  an  air  barrier  to  prevent  the 
infiltration  of  cold  air  in  the  wintertime. 

The  Coronet's  seating  capacity  is  598,  larger 
than  the  Baronet  which  has  118  scats.  The  Coronet 
is  equipped  with  Centur)  35mm  projectors  with 
\>hcraft  Cinex  lamps.  Century's  transistorized 
sound  system,  Ashcraft  rectifiers  and  stereophonic 
surround  horns. 


The  facade  of  the  twin  theatres.   The  upper  wall 
is  faced  in  wide  alternate  stripes  of  black  and  white. 


CAMERA  VIEWS 
OF  THE  PIGGY- 
BACK CORONET 


/  estibule    u  ith    steps    to   the  Coro- 
net's lobby  and  gallery. 


Coronet  lobby  with   its  escalator  leading   to  the  auditorium,  features  the 
Proscenium  Gallery  where  paintings  and  sculptures  are  exhibited  and  sold. 


The  Coronet's  auditorium,  like  its  tivin,  the  Baronet,   is  a  stadium-type 
theatre.    Walls  are  blue  perforated  aluminum.    The  curtain  is  gold  and  blue. 

International  Projectionist        July,  1963 


Rear  view  of  the  auditorium,  show- 
ing the  projection  room. 


13 


New  York's  Festival  Theatre  So  Luxurious 
It  Includes  Private  Art  Gallery 


Showman  Joseph  E.  Levine  cele- 
brated "New  York  is  a  Summer  Festi- 
val" by  opening  his  new  Festival 
Theatre.  57th  St..  just  west  of  Fifth 
Ave.,  recently  with  Federico  Fellini's 
"S1/)"  as  the  inaugural  attraction. 

Built  in  the  former  location  of  the 
Milgrim  store,  the  Festival  Theatre 
will  hold  just  under  600  seats.  De- 
scribed as  the  most  luxurious  of  inti- 


PROJECTIONISTS 
PREFER 

ETHYLOID 

Film  Cement-  For 
BEST  RESULTS 

Available  from 
Supply  dealers 

FISHER  MFG.  CO. 

1185  Mr.  Read  Blvd. 
Rochester,  N.Y. 


ASHCRAFT 


equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 
Motion      Picture      Equipment      Division 

100  E.  42nd  St.,  New  York  17,  N.Y. 


mate  cinemas  in  New  York,  it  boasts 
the  largest,  most  elaborate  lounge 
space  of  any  East  Side  theatre.  In 
addition  to  an  upstairs  gallery  lounge 
with  windows  facing  57th  Street,  the 
theatre  will  have  a  downstairs  coffee 
lounge  running  the  entire  length  of 
the  building. 

Designer  of  the  Festival  Theatre  is 
Simon  B.  Zelnik,  New  York  architect. 
A  unique  marquee  fronts  the  new 
cinema.  Blending  in  with  the  rich- 
flowing  architecture  of  the  existing 
building  will  be  a  flower-box  arrange- 
ment,   projecting   from    the   building 


SUPPLIERS  FOR 
FESTIVAL  THEATRE 

Architect   Simon  B.  Zelnik 

Steel  Work  .  .   Irvington  Steel  &  Iron 
Consulting  Engineer    ....    Strobel  & 

Rongved 
General  Contractor lenkin  Con- 
tracting Co. 

Electrical    Charles   Hyman 

Heating  &  Air  Cond.  .  .  Weathermatic 

Corp. 
Acoustical  Work   .  .   Jacobson  &  Co. 

Inc. 

Seating Joe  Hornstein  Inc. 

Sign    ....    Interstate  Neon  Sign  Co. 

Terrazzo    V.  Foscato,  Inc. 

Plumbing  .  .  L.  Parhman  &  Sons.  Inc. 

Store  Front E.  K.  Anderton 

Decorator    .  .    Mrs.  Ellen  McCluskey 


above  the  lobby  entrance,  made  of 
a  new  material.  Duranodic  aluminum, 
providing  fixed.  weather-proofed 
metallic  colors.  The  facade  will  also 
be  of  colored  Duranodic  aluminum. 

Byzantine  glass  mosaics  and  etched 
terrazzo  will  grace  the  lobbv  area, 
inside.  The  two  lounges,  with  decor 
designed  to  enhance  the  living-room 
comfort  of  patrons,  will  be  an  inte- 
grated part  of  the  theatre's  architec- 
ture. Featured  in  the  downstairs 
lounge  will  be  two  separate  areas, 
decorated  respectively  in  French  and 
Italian  motifs.  Special  areas  in  the 
lounges  will  be  devoted  to  coffee  bars, 
picture  galleries,  and  seating. 

The  Festival  Theatre  will  be  located 


Projection  equipment  in  booth  of 
Festival  Theatre. 

at  the  apex  of  the  exclusive  depart- 
ment-store, office-building  and  resi- 
dential area  uptown. 

According  to  Zelnik.  a  veritable 
engineering  "miracle"  was  required 
to  transform  the  store  space  into  a 
cinema.  Six  supporting  columns  were 
removed  from  the  structure  and  re- 
placed with  transverse  beams,  without 
occasioning  any  settlement  in  the 
stories  above. 

Paintings  covering  a  span  of  five 
centuries  and  representing  a  value  in 
excess  of  $100,000  are  on  display  in 
the  lounge. 


Front  of  Festival  Theatre,  6  West 
57th  St.,  New  York  City. 


BRIGHTER   LIGHT 
LONGER   BURNING 
SHARPER   PICTURE 
Free  Test  Samples 


PHV**w 


Tn»»'iiii»» 


wuUtteWk(2antf<ut4 


CARBONS  INC.,  BOONTON,  N.  J. 


STEADIER  LIGHT 
LESS   ATTENTION 
PERFECT  COLOR  BALANCE 
Free  Carbon  Chart 


14 


International  Projectionist        July,  1963 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING   DEVICES 

VALLEN,lnc. 

AKRON  4,  OHIO 


MODERNIZE 
POWER   UNITS 


No  burned  contacts,  cooler 
operation,  smoother  current 
with  BE  silicon  rectifiers.  A 
model  to  replace  any  bulb 
type. 

One   year   guarantee 


BROWN  ELECTRONICS 

1717    South    St.,   ALLENTOWN,    PA. 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSOORFF  CARBON  CORP.    East  McKeesport,  Pa 


Top  : 

Downstairs  lounge  of  Festival 
theatre,  running  whole  length  of 
theatre,  and  containing  art  display 
rallied  at  $100,000. 

Center: 

View  of  upstairs  gallery-lounge  of 
Festival  Theatre,  with  windows  open- 
ing out  on  57th  Street. 

Bottom: 

Auditorium  of  Festival  Theatre, 
viewed  from  screen  toward  balcony. 

iP 

International  Projectionist        July, 


IF  YOU  ARE  NOT  USING  THE 
"LITTLE  MISER"  CARBON  SAVER 

YOU  ARE  LOSING  SEVERAL 
HUNDRED  DOLLARS  EACH  YEAR 

Just  twist  the  stud  in  and  out 

No   grinding — No   dirt 

4  sizes,  9-10-1  lmm,  $3.00  ea. 

13.6mm,  $4.50  ea. 


NEW 


AN    ILLUMINATED   SCREW   DRIVER 


1963 


For  working  on  speaker  post  after  dark  .  .  .  com- 
plete with  4  driver  bits;  two  sizes  flat  head  and 
Phillips  head  and  two  No.  135  batteries,  $3.35 
each. 

LOU  WALTERS 

Sales   and    Service   Co. 

4207    Lawnview   Ave.,    Dallas   27,   Texas 
Phone    EV   8-1550 
Post   paid    when    check    is   sent   with   order. 


15 


FIG.  3 — A  xenon  lamp  of  European  manufac- 
ture (Zeiss  Ikon).  The  square  metal  box  seen 
in  the  rear  of  the  lamphouse  contains  the 
high-voltage  igniter  unit  which  starts  the 
xenon  bulb  burning. 


XENON 


from  page  6 

pending  upon  the  size  and  rating  of  the  particular  xenon 
bulb  used. 

The  xenon  arc,  itself,  is  a  blue-white,  intensely  bright 
flame-like  arc  which  "fans  out"  from  a  brilliant  gas  ball 
close  to  the  tip  of  the  lower  (negative)  electrode  —  the 
cathode.  The  lamp  is  provided  with  an  auxiliary  spherical 
mirror  which  superimposes  a  reversed  image  of  the  fan- 
shaped  flame  upon  the  actual  flame,  thus  effecting  great 
uniformity  of  the  screen  illumination. 
Power   Requirements   for   Xenon 

Xenon  bulbs  normally  have  an  extremely  long  use- 
ful life,  and  are  seldom  discarded  before  blackening  of  the 
quartz  bulb,  caused  by  slow  evaporation  of  the  tungsten 
electrodes,  requires  too  great  an  increase  in  arc  current 
to  maintain  the  initial  high  light  output. 

It  should  especially  be  remembered  that  AC  ripple 
pulsations  in  the  DC  supplied  to  a  xenon  bulb  shorten  its 
life  by  "atomizing"  the  tungsten  cathode  and  increasing 
the  length  of  the  arc.  A  longer  arc  increases  the  operating 
voltage  which,  in  turn,  increases  the  thermal  stress  and 
hastens  breakdown.  It  is  generally  believed  that  an 
operating  voltage  much  in  excess  of  30  volts  is  unsafe, 
and  indicates  that  the  bulb  should  be  replaced  with  a  new 
one. 

The  "ripple  content"  of  the  direct  current  supplied  to 
a  xenon  bulb  should  never  exceed  17%  of  the  maximum 
DC  voltage,  otherwise  bulb  life  will  be  materially  shorten- 
ed. Certain  old-style  carbon-arc  rectifiers  are  therefore 
unsuitable  for  xenon  operation.  Then,  too,  a  current 
source  for  xenon  lamps  should  have  voltage  characteristics 
which  impress  the  required  60  -  75  volts  upon  the  bulb 
after  the  initial  high-voltage  discharge,  then  automati- 
cally dropping  to  the  normal  operating  voltage  of  20  -  30 
volts  when  normal  current  is  being  consumed. 

A  low  ripple  content  and  the  proper  voltage  character- 
istics are  the  two  imperative  reasons  why  rectifiers  for 
xenon  lamps  should  be  specifically  designed  for  the  job. 
The  Strong  Electric  Corporation  of  Toledo  manufacturers 
excellent  silicon-diode  rectifiers  for  xenon  operation. 
However,  motor-generator  sets  having  a  terminal  voltage 
of  60  to  80  or  so  volts  may  also  be  used  after  certain 

16 


changes  have  been  made  in  the  ballast  rheostats.  Con- 
sult the  manufacturer  of  the  xenon  lamps  before  making 
these  changes. 

Two   Mirrors   in    Lamphouse 

The  xenon  lamphouse,  itself,  is  very  similar  to  the 
lamphouses  designed  for  reflector-type  carbon  arcs, 
except  that  it  is  mechanically  simpler.  There  are  no 
motors,  crater-positioning  devices,  or  carbon-feeding 
mechanisms.  But  unlike  all  carbon-arc  lamps  except  the 
"blown  arc,"  which  has  a  cylindrical  flame,  the  xenon 
lamp  employs  a  small  sperical-surfaced  "backing  mirror" 
to  intercept  and  utilize  the  light  which  would  otherwise 
be  wasted.  By  forming  an  inverted  image  of  the  xenon 
arc  upon  the  actual  arc  inside  the  bulb,  the  auxiliary 
mirror  practically  doubles  the  screen  illumination  and 
gives  it  greater  uniformity.  Correct  optical  adjustment 
of  this  mirror  is  very  important. 

The  large  main  reflector  functions  exactly  like  the 
elliptical  mirror  in  a  carbon-arc  lamphouse.  It  intercepts 
the  light  from  the  xenon  arc  ( plus  the  light  from  the 
image  superposed  upon  it  by  the  auxiliary  mirror)  and 
focuses  it  as  an  intensely  bright  "spot"  upon  the  film 
aperture, 

Certain  European  manufacturers  of  xenon  lamp  equip- 
ment place  a  "honeycomb"  relay  condenser,  consisting  of 
two  reticulated  pressed-glass  lenses,  in  the  cone  of  the 
lamphouse.  The  intention  is  to  insure  a  high  degree  of 
screen-light  uniformity.  We  know  that  honeycomb  con- 
densers cause  a  loss  of  light  amounting  to  nearly  20% : 
and  reports  have  come  to  us  that  they  are  hard  to  clean 
and  are  liable  to  cracking.  American-made  xenon  lamps 
attain  a  uniformly  distributed  maximum  screen  light 
without  the  use  of  troublesome  honeycomb  condensers. 

Xenon-Lamp   Safety   Precautions 

The  high  pressure  of  the  gas  in  xenon  bulbs  demands 
a  strict  observance  of  safety  precautions.  If  carelessly  or 
accidentally  broken,  xenon  bulbs  explode  and  throw  sharp 
fragments  of  quartz  glass  in  all  directions.  This  is  why 
xenon  bulbs  are  encased  in  a  removable  protective  shell  of 
tough  plastic.  The  shell  must  be  left  on  while  the  bulb  is 
being  installed  in  the  lamphouse,  and  not  removed  until 
the  cables  are  connected  to  the  two  bulb  terminals  (upper 
one  positive,  lower  one  negative). 

In  addition  to  the  plastic  shell  for  the  bulb,  a  pro- 
tective face  mask  is  supplied  by  the  lamp  manufacturer 
( obtainable  as  Part  No.  76181  from  the  Strong  Electric 
Corp. ) .  The  projectionist  shall  not  fail  to  wear  the  pro- 
tective mask  when  handling  the  bulb  and  when  opening 
the  lamphouse!  Even  though  accidental  breakage  of 
xenon  bulbs  rarely  occurs,  the  possibility  of  losing  an  eye 
through  an  explosion  should  provide  sufficient  inceptive 
to  guard  against  carelessness  and  wear  the  face  mask 
when  handling,  installing,  adjusting,  inspecting,  and 
removing  xenon   bulbs. 

The  face  mask  shall  be  worn  while  cleaning  the  xenon 
bulb  and  the  lamphouse  mirrors.  Never  touch  the  quartz 
envelope,  as  fingerprints  will  burn  in  and  dull  the  bulb. 
If  fingerprints  are  made,  the  bulb  should  be  cleaned 
with  chemically  pure  methyl  ("wood")    alcohol. 

Wear  the  face  mask  and  replace  the  plastic  protective 
shell  on  the  xenon  bulb  when  cleaning  the  lamphouse  or 
using  tools  which  might  conceivably  break  the  bulb. 

When  removing  the  bulb  from  the  lamphouse.  put  the 
face  mask  on  before  opening  the  door.  Encase  the  bulb 
in  its  protective  shell  before  disconnecting  the  terminal 
cables.     Discarded   xenon    bulbs   should   be    wrapped   in 

International  Projectionist        July,  1963 


POWER 
SWITCH 


\ 

IMAGER 

SCREEN 


AUXILIARY 

REfLECTOR 

ADJUSTMENTS 


FIG.  4 — Convenient  arrangement  of  the  simple 
controls  of  the  Strong  K.-16  xenon  lamp.  The 
accompanying  text  explains  the  use  of  these 

controls. 

several  layers  of  canvas  or  hem  y  cloth  and  smashed  with 
a  hammer  before  being  deposited  in  the  trash  can. 

Simple    Servicing,    Cleaning 

Never  open  the  lamphouse  u  licit  the  xenon  hull)  is  in 
operation!    U  ait  at  least  ten  minutes  for  the  bulb  to  cool 

before  opening  the  door.  The  purpose  >>t  1 1 1 i  —  precaution 
is  to  prevent  cracking  ami  explosive  destruction  of  the 
bulb  from  the  chilling  effects  of  drafts.  For  tin-  same 
reason,  the  ventilating  system  must  be  arranged  so  that 
down-drafts  cannot  force  their  \\a\  into  the  lamphouse. 
The  ventilating  requirements  of  the  xenon  lamp  are 
modest,  inasmuch  as  the  xenon  bulb,  unlike  a  carbon  arc. 
generates  no  gases  to  be  expelled. 

Once  a  xenon  lamp  has  been  connected  to  a  suitable 
rectifier,  power-suppl)  problem-  seldom  arise.  There  are 
no    electro-mechanical     feed     mechanisms    to    go     wrong. 

The  quench  spark  gap  of  the  high-voltage  igniter  unit  maj 

need  adjustment  or  replacement  after  long  periods  of  use, 
but  there  are  no  moving  parts  in  the  xenon  lamp  aside 
from  the  expected  mirror-adjusting  controls.  No  lubri- 
cation of  the  lamp  is  needed.  There  are  no  carbon-core 
ashes  to  soil  the  lamphouse.  hence  cleaning  is  an  excep- 
tional eas)  chore.  The  large  main  reflector  and  the 
small  auxiliary  mirror  ordinarily  require  no  cleaning 
beyond  a  fortnightly  wiping  with  a  clean,  soft,  dry  cloth. 

Adjustment   of   Mirrors 

Detailed  instructions  for  "lining  up"  900-,  160U-.  and 

|    2500-watt  xenon  lamps  are  given  in  the  Strong  operating 

manuals  for  these  lamps.    Initial  alignment  of  the  xenon 

lamphouse  is  best  accomplished  with  the  aid  of  a  special 

aligning  tool  supplied  by  the  lamp  manufacturer. 

The  three  control  knobs   for  the   main    reflector  are 

|    located   on   the   operating   side   of  the   lamphouse   at   the 

'    rear:     the   three   for   the   auxiliary   reflector   are   at   the 

front  of  the  lamphouse.    So  critical  is  the  adjustment  of 

the  auxiliary   mirror  that  its  controls  should  be  locked  in 

place  once  the  adjustment  has  been  made. 

The  large  main  reflector  is  adjusted  first.  To  prevent 
the  appearance  of  confusing  patterns  of  light  on  the 
screen,  the  optical  effect  of  the  auxiliary  mirror  is 
eliminated  bv  mo\  ing  this  smaller  mirror  toward  the  front 
of  the  lamphouse. 

The  xenon  bulb  is  switched  on  and  the  light  centered 
on  the  screen  with  the  main-mirror  horizontal  and  vertical 


adjusting  knobs,  then  focused  with  the  focus  knob  to 
obtain  the  smallest  "V"  pattern  of  light.  After  this  is 
done,  the  auxiliary  mirror  is  returned  to  its  normal  posi- 
tion, and  its  optical  adjustment  effected  bv  means  of  the 
horizontal,  vertical,  and  focus  knobs  for  this  mirror,  as 
described  below. 

Optical  adjustment  of  the  auxiliar)  mirror  is  very 
critical  and  must  be  performed  with  great  care.  The 
horizontal  and  vertical  controls  are  adjusted  until  the 
bright  "cathode  spots"  are  aligned  vertically,  one  above 
the  other,  on  the  imager  screen  in  the  side  door  of  the 
lamphouse.  The  two  bright  spots  should  be  about  1/8 
inch  apart  on  this  little  screen,  and  care  should  be  taken 
not  to  focus  the  bright  spot  of  the  cathode  directly  upon 
the  tip  of  the  anode.  To  do  so  will  overheat  the  anode  and 
harm  the  xenon  bulb. 

This  done,  further  adjustments  ol  the  auxiliary  mirror 
are  made  bv  observing  the  projected  light  on  the  theatre 
screen.  After  giving  a  finishing  touch  to  the  auxiliary- 
mirror  horizontal  adjustment,  if  nccessarv.  the  auxiliary- 
mirror  focus  knob  is  adjusted  to  obtain  the  brightest  pal- 
tern  of  light  on  the  screen.  This  will  be  superimposed 
upon  the  "V"  pattern  formed  bv  the  main  reflector.  To 
"disentangle"  the  two  patterns,  it  is  advisable  to  run 
through  the  focal  position  of  the  auxiliar)  mirror  a  lew 
limes  before  a   fine  adjustment    is  made. 

\lter  these  patterns  of  light  from  the  main  and  auxili- 
ary reflectors  are  obtained,  the  last  step  in  the  adjust- 
ment of  the  reflectors  is  to  turn  the  auxiliary-reflector 
focus  knob  one-half  turn  to  the  right,  and  the  main- 
reflector  focus  knob  two  turns  to  the  right — that  is  to  say. 
in  a  clockwise  direction.  This  will  then  provide  a  screen 
light  of  utmost  uniformity,  and  all  is  in  readiness  for  the 
projection  of  pictures. 

Pushbutton    Starting 

\etual  operation  of  the  xenon  lamp  is  simplicitv  itself. 
There  are  two  switches  directlv  beneath  the  three  main- 
reflector  adjusting  knobs.  One  is  the  rectifier-relay  ON — 
OKI  switch  for  the  power.  This  is  turned  on  first.  Then 
the  igniter  button  is  pressed  [or  not  more  than  half  a 
second.  There  will  be  a  distinct  buzzing  sound,  and  the 
xenon  bulb  will  light  up.    What  could  be  easier? 

Because  of  the  slow  evaporation  of  tungsten  from  the 
hot  electrodes,  the  quartz  envelope  of  a  xenon  bulb  gradu- 
ally darkens — just  the  same  as  with  an  ordinary  tungsten- 
filament  mazda  lamp.  To  maintain  a  constant  high  light 
output,  therefore,  the  current  is  graduallv  increased  by 
small  increments  at  the  rectifier.  When  the  current  has 
been  boosted  to  a  stated  maximal  value,  after  many 
months  or  even  a  year  or  so  of  service,  the  bulb  must  be 
replaced. 

Too  high  a  current  destroys  the  tip  of  the  tungsten 
cathode  and  dangerously  increases  the  pressure  of  the  gas 
inside  the  bulb.  Xenon  lamp  equipments  manufactured 
by  the  Strong  Electric  Corp.  have  a  running-time  meter 
which  shows  the  time  in  hours  that  the  xenon  bulb  has 
been  burned.  The  running-time  meter  is  conveniently 
located  on  the  back  of  the  lamphouse  beside  an  ammeter 
which  shows  at  what  current  the  lamp  is  operating. 

Imbalance  in  the  light  outputs  of  xenon-equipped  pro- 
jectors is  corrected  by  increasing  the  current  of  the  dim- 
mer lamp,  decreasing  the  current  of  the  brighter  lamp, 
or  by  a  combination  of  both  measures. 

All  things  considered,  the  xenon  lamp  is  a  welcome 
boon  to  projection  in  theatres  which  formerly  found  the 
smaller  simplified  high-intensity  carbon  arcs  adequate  for 
satisfactory  screen  brightness.  It  is  designed  to  produce 
an  ideal  light  for  motion-picture  projection  and  to 
provide  long  periods  of  service  with  an  absolute  minimum 
of  attention.  iP 


International  Projectionist        July,  1963 


17 


Another  Wide-Screen 
Process  -  -  Now  It's 
"Dimension  750" 

Todd-AO  and  Dimension  150  have 
combined  forces  to  furnish  motion 
picture  producers  with  all  of  the 
finest  features  of  wide  screen  motion 
picture  processes  according  to  an 
announcement  from  George  P. 
Skouras,  president  of  the  Todd-AO 
Corp.  and  Dr.  R.  Vetter  and  Profes- 
sor Carl  Williams,  developers  of  the 
new  Dimension  150  process. 

Dimension  150  was  developed  by 
Dr.  Vetter  and  Professor  Williams, 
members  of  the  faculty  of  the  Uni- 
versity of  California  at  Los  Angeles 
as  a  process  that  requires  the  use 
of  only  one  camera  and  can  be  pro- 
jected with  a  single  projector  on  all 
screens,  including  the  most  deeply 
curved  screen,  without  distortion. 

The  Dimension  150  system  in- 
cludes the  use  of  numerous  wide 
angle  lens  up  to  a  150-degree  bugeye 
lens  which  will  give  producers  the 
widest  camera  range  ever  developed 
in  the  history  of  motion  picture- 
making. 

In  addition,  pictures  produced  in 
Todd-AO  or  Dimension  150  will  of- 
fer to  producers  and  exhibitors  the 
facility  and  flexibility  of  presenta- 
tion without  incurring  conversion 
costs  in  theatres  currently  equipped 
for  70  mm.  projection  on  deeply 
curved  screens  used  in  several  exist- 
ing processes. 

Dr.  Vetter  and  Professor  Williams, 
who  specialize  in  audio-visual  educa- 
tion at  UCLA,  have  concluded  the 
development  of  Dimension  150  and 
have  patents  pending  on  the  process. 

Arrangements  are  being  made  to 
present  the  process  and  demonstrate 
its  possibilities,  flexibility  and  eco- 
nomics to  members  of  the  motion 
picture  industry  within  the  near 
future. 

Negotiations   have  been  concluded 


with  Louis  de  Rochemont  for  the 
production  of  three  films  in  Dimen- 
sion 150,  one  of  which  will  be  "All 
The  World's  A  Stage,"  a  large-scale 
spectacle-drama  based  on  the  real  life 
of  a  famous  Broadway-Hollywood 
personality.  iP 

New  Strong   Rectifier 
Operates  2  Arc  Lamps 
From   Single   Supply 

One  of  the  first  installations  of  the 
new  Strong  Bi-Powr  silicon  stack 
rectifier  is  that  of  the  Astro  Theatre. 
Omaha,   Nebr.,  shown   with  Richard 


Smith  operating.  This  new  type  recti 
fier  was  developed  for  the  operation 
of  two  projection  arc  lamps  off  oi 
a  single  power  supply.  It  employs  two 
silicon  stack  assemblies,  one  for  each 
output.  The  life  expectancy  of  the 
equipment  is  greatly  lengthened  due 
to  the  fact  that  there  is  "no  aging." 
Hence  there  can  be  no  unbalance  in 
the  units  and  no  flicker  on  the  screen 
caused  by  unbalance  in  power  supply. 

The  Bi-Powr  is  designed  for  opera- 
tion on  220V  50/60  cycle  three  phase 
AC  and  is  available  in  four  ratings: 


/6i 
vttL 

T>) 

INTERNATIONAL  PROJECTIONIST 

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Zone  State  

60-85/  60-85  ampere/  35-45  volts: 
75-105/  75-105  ampere/  48-61  volts; 
90-135/  90-135  ampere/  56-70  volts; 
and  120-160  120-160  ampere/  58-75 
volts. 

A  novel  "Lo-Strike"  feature  associ- 
ated with  each  output  on  the  90-135 
and  120-160  ampere  models  protects 
the  silicon  stacks  from  overload  and 
prevents  the  destruction  of  the  carbon 
crater  upon  striking  the  arc.  An  ex- 
clusive automatic  reset  permits  im- 
mediate restriking  in  the  event  that 
the  arc  is  not  established  on  first 
strike. 

Literature  may  be  obtained  by 
addressing  the  Strong  Electric  Corp., 
31  City  Park  Ave.,  Toledo  1,  Ohio. 

iP 

Christie   Electric 
Features   New  Xenon 
Power   Supplies 

Christie  Electric  Corp.  is  featuring 
a  new  line  of  xenon  arc  lamp  power 
supplies,  said  to  be  ideally  suited  for 
such  applications  as  solar  simulators, 
data  display  systems,  flight  simulators 
and  star  tracking  systems. 

These  extremely  versatile  units  may 
be  used  equally  well  with  xenon  or 
mercury  xenon  lamps  (inset)  and  fea- 
ture automatic  current  regulation  and 


18 


extremely  low  current  ripple.  Each 
unit  is  designed  to  work  with  two  or 
more  lamp  sizes.  Output  character- 
istic may  be  adjusted  for  operation  of 
all  lamps. 

Further  information  may  be  obtain- 
ed by  writing  Christie  Electric  Corp.. 
3410  W.  67th  St.,  Los  Angeles  43,   | 
Calif.  iP 

International  Projectionist        July,  1963 


» AUTHORITATIVE 
» COMPREHENSIVE 


» 


PRACTICAL 


Acclaimed  by  leading  technicians  in 
the  industry  as  the  most  comprehen- 
sive and  down-to-earth  handbook  pub- 
lished to  date  on  the  subject  of  motion 
picture  projection.  Ideally  suited  for 
study  and  reference  by  your  opera- 
tors. 


ROBERT  A.  MITCHELL'S 


MANUAL  OF  PRACTICAL  PROJECTION 


HANDY    5'/2"     X    S'V    SIZE 


450     PAGES 


ILLU  STRATED 


CROSS      INDEXED      FOR      EASY      REFERENCE 


*  Here  is  one  of  the  most  help- 
ful works  ever  published  for 
the  motion  picture  projection- 
ist. A  handsomely  bound  and 
profusely  illustrated  compila- 
tion of  the  BEST  of  the  Robert 
A.  Mitchell  articles  that  have 
appeared  in  "International 
Pro  jectionis  t,"  revised, 
brought  up  to  date. 


*  The  author  covers  clearly 
and  thoroughly  every  aspect  of 
motion  picture  projection,  pre- 
senting his  material  in  easily 
understood  language — not  too 
technical,  yet  technically  ac- 
curate. The  Manual  is  divided 
in  8  sections  and  contains  30 
chapters  —  a  valuable  refer- 
ence work  no  progressive  pro- 
jectionist should  be  without. 


! 


SECTION      HEADINGS 


(1)  Film:  (2)  The  Projector:  (3)  Projection-Optics,  Screens;  (4)  The  Arc  Lamp; 
(5)  General  Projection  Practice;  (6)  Motors,  Generators,  and  Rectifiers;  (7) 
Sound    Reproduction   Systems;    (8)    Projection   of  Color  and   3-D   Films,   Formulas. 


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INTERNATIONAL    PROJECTIONIST 
Post   Office    Box    61 74 
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A/oreft 


presenting  the  NEW  /VOretCOAA  U  UNIVERSAL  70/35 


Leave  it  to  famed  Norelco  engineering  to  take  a  projector 
that  has  just  received  an  Academy  Award  for  design  and  en- 
gineering . . .  and  improve  it! 

That's  right. ..the  new  Norelco AAH  70/35  projector  has  18 
major  technical  improvements  including:  new  dual-split  maga- 
zine shafts  that  eliminate  need  for  special  35mm  reels  with 
70mm  flanges;  new  intermittent  assembly;  new  single  motor 
dual  drive;  new  adjustable  lamphouse  bracket  for  moving 
lamp  without  realignment;  new  threading  guards;  new  oil 
vapor  leak  protection;  new  reduced  torque  motor;  and  others. 


Most  of  today's  top  boxoffice  attractions  are  70mm  releases. 
Even  more  are  coming.  By  equipping  with  Norelco  AAH 
70/35's  you'll  be  able  to  show  them  in  all  their  spectacular 
brilliance  and  cash  in  on  their  tremendous  drawing  power. 
What's  more,  in  a  quick  4-minute  changeover,  you  also  have 
the  most  modern,  rugged  and  trouble-free  35mm  mechanism! 

No  matter  how  you  look  at  it... for  today  and  tomorrow, 
Norelco  AA  n  70/35  projectors  are  your  wisest  investment. 
Get  all  the  facts  from  your  theatre  supply  dealer  or  write 
Norelco  today. 


The  Academy  of  Motion  Picture  Arts  and  Sciences  presented  this 
award  for  outstanding  achievement  to  the  North  American  Philips 
Company  for  the  design  and  engineering  of  the  Norelco  Universal 
70/35mm  motion  picture  projector. 

®REG.  UNITED  STATES  PATENT  OFFICE  BY  NORTH  AMERICAN  PHILIPS  COMPANY,  INC.  NORELCO  IS  KNOWN  AS  PHILIPS  IN  CANADA.  100  E.  42nd  Street,  New  York,  N.Y.  •  Phone:  212-OX  7-3600 


I 


INTERNATIONAL 


/I 


J 


\ 


During  the  National  Carbon  tour,  the  Star-Lite  Drive-In  in  Fostoria,  Ohio,  owned  by 
Virgil  P.  Fau,  was  visited.  Left  to  right  in  the  booth  are  Phil  H.  Freeman,  sales  manager 
for  arc  carbon  products,  National  Carbon  Co.  division  of  Union  Carbide  Corp.;  E.  A.  Bowen, 
local  sales  manager  for  the  division;  Carl  E.  Short,  local  267  IATSE,  Tiffin,  Ohio,  and 
J.   W.   (Bill)  Cosby,   marketing   manager  for  arc  carbon   products.      Story  begins  on  page  8. 


Library  of  Congress 

Order  Division     (o368X) 
Washington  25,  D.C. 


AUGUST 
VOLUME  38 

40c  A  COPY 


1963 
NUMBER  8 

$3.00  A  YEAR 


Investment  Opportunity 


The  hand  holding  the  hammer  will  someday  make 
products  for  you. 

Long  years  of  training  will  have  to  go  into  making 
those  chubby  fingers  productive.  Much  care,  much  love, 
much  planning  and  money. 

But  no  matter  how  lean  and  hard  and  skillful  they 
become,  it  will  signify  little  if  the  fruits  of  their  skill 
are  produced  in  anything  but  a  free  society. 

You  have  an  investment  in  those  hands.  To  protect 
your  investment,  you  can  join  with  other  leading  Amer- 
ican businessmen  to  promote  the  Treasury's  Payroll 
Savings  Plan  for  United  States  Savings  Bonds.  The 
Treasury  Department's  Plan  works  for  soundness  in 


our  economy,  strength  in  our  defenses,  and  thriftiness 
and  self-reliance  in  our  thinking. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll 
— you  are  investing  in  the  hands  of  tomorrow's  tool 
makers  and  tool  users.  You  are  investing  in  America's 
next  generation  of  machine  operators,  mechanics,  metal 
workers — in  all  of  America's  skilled  labor  force.  You 
are  investing  in  America's  future.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  to  the 
Treasury  Department,  U.S.  Savings  Bonds  Division, 
Washington  25,  D.C. 


in  your  plant... promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS     f|| 

'""corf 
The  U.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism,  The  Advertising  Council  and  this  magazine. 


INTERNATIONAL  PROJECTIONIST 


INTERNATIONAL 

PROJECTIONIST 

Including  a  special  Audio-Visual  section  relat- 
ing to  the  operation  and  maintenance  of  A-V 
equipment  in  the  educational  and  industrial 
fields. 


Volume  38  August   1963 


No.   8 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY  GALLO 

Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO   ASSOCIATES 

National  Advertising  Representatives 

545  Fifth  Avenue,   New  York    17,   N.   Y. 

Telephone    Murrayhill    7-7746 

(Area   Code   212) 


IN   THIS   ISSUE 

Film    Shrinkage,    Frame    Registration  4 

By  ROBERT  A.   MITCHELL 

National    Carbon    Tour  8 

History   of   the    Carbon  8 

Screen    Design    Developments  17 

News  Notes — Technical  Hints — Miscellaneous  Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
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copyrighted  1963  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 


MONTHLY  CHAT 

WHY   NOT  TRY 
BOOTH   SHOWMANSHIP 

The  low  dollar  volume  at  the  boxoffice  in  movie  the- 
atres all  around  the  country  is  the  prime  worry  of  the 
film  industr) . 

The  exhibitor  says  "give  'em  a  big  picture  and  the 
public  will  bin  tickets."  And  that  checks  out  when  the 
movie  attraction  catches  the  fancy  of  the  mass  public 
in  this  country  and  abroad,  for  the  "big  picture"  grosses 
more  millions  today  than  ever  in  the  "past. 

But  the  men  with  investments  in  theatre  properties 
might  well  ask  themselves  "what  are  we  doing  about  the 
situation  of  complete  dependence  on  the  people  who  make 
films?" 

IP  would  like  to  suggest  that  the  theatre  owner 
would  give  a  try  at  Booth  Showmanship.  Since  its  pretty 
plain  that  there  are  millions  of  people  who  attend  the 
movies  infrequent!)  (for  instance  when  the  "big  picture" 
comes  along)  and  certainl)  not  for  the  reason  that 
they  don't  have  the  admission  price — according  to  Wash- 
ington  the  income  is  at   an   all-time  high. 

Booth  Showmanship  is  a  good  presentation  of  all  pic- 
tures the  theatre  presents  to  the  patrons.  A  picture  that 
is  bright   from  margin  to  margin  of  the  bigger  screens. 

The  booth  craftsmen's  skill  is  at  an  all-time  high  and 
is  capable  of  Booth  Showmanship  if  onl\  the  theatre 
owner  would  give  him  a  chance  with  the  modern  tools 
ol    his  craft. 

Available  are  high  standard  projectors,  sound  sys- 
tems, light  sources,  power  converters  and  necessary  booth 
accessories 

W  ilh  man)  theatres  in  deplorable  out-moded  and 
well-worn  projection  equipment  many  industry  men 
place  the  blame  mi  the  low-dollar  \olume  at  disappoint- 
ing grosses  of  good  pictures,  not  necessarily  with  the 
automatic  drawing-power,  right  at  the  theatre  whose 
projection  equipment  is  not  up  to  modern  standard  and 
whose  unattractive  surroundings  don't  invite  the  public 
to  the  patrons  of  the  house. 

To  meet  present-day  standards  all  pictures,  even  the 
new -reel  presented  at  movie  theatres  should  be  bright, 
with    good    distribution,    and    color    rendition. 

Mam  a  theatre  has  too  large  screens  for  the  light 
source  being  used.  This  stems  from  the  neglect  when  the 
theatre  put  in  a  large  screen  without  stepping  up  the 
light  source.  There  are  cases  when  screen  area  was  more 
than  doubled  using  existing  lamps.  Naturally,  the  screen 
illumination  was  reduced  radically,  the  projectionists,  the 
patrons  of  the  house,  noted  the  dimness  when  they  saw 
a  black  and  white  film  especialh.  when  the  low-key  and 
night  scenes,  with  color  film  dim  at  the  margins. 

The  equipment  dealer  is  the  best  source  for  the  the- 
atre owner  to  get  good  advice  to  upgrading,  at  minimum 
cost,  his   booth  equipment. 

According  to  informed  equipment  men.  more  than 
M''  of  the  arc  lamps  in  theatres  in  this  country  are 
more  than  20  years  old.  And  the  projector  manufactur- 
ers say  the  same  thing  holds  for  projectors. 

During  the  last  decade  a  lot  of  improvements  in 
techniques  have  gone  into  the  motion  picture,  particu- 
larly by  the  equipment  manufacturers  and  the  film 
makers. 

For  all  of  the  know-how  of  the  production  men,  with 
their    costly    pictures,    not    every    film    attraction    turns 

(Please  turn  to  page  18) 


International  Projectionist         August,  7963 


Volume  38 


August,   1963 


Number  8 


FILM  SHRINKAGE  AND  FRAME 

REGISTRATION 


By   ROBERT  A.  MITCHELL 


Improvement  in  the  rocksteadiness  of  theatre  motion 
pictures  during  the  past  few  decades  is  due  in  great 
measure  to  improvements  in  the  aging  characteristics  of 
the  film,  itself. 

Other  refinements  in  the  art  which  have  exerted  a 
decidedly  beneficial  effect  upon  the  quality  of  professional 
projection  include  more  accurate  camera  and  projector 
intermittents,  improvements  in  film  processing  and  print- 
ing, the  use  of  film  stock  perforated  by  the  manufacturer 
instead  of  by  the  studios  and  laboratories,  and  a  better 
understanding  of  optimum  storage  conditions  for  all  the 
different  types  of  film  stock  in  use. 

As  far  as  theatre-release  positive  film  stock  is  con- 
cerned, the  substitution  of  high-acetyl  acetate  safety  film 
for  the  relatively  unstable  and  dangerous  nitrate  film 
formerly  used  has  been  a  significant  factor  because  of 
the  relatively  low  and  comparatively  uniform  shrinkage 
of  triacetate  base. 

The  film  shrinkage  problem  still  exists,  of  course,  be- 
cause all  known  cellulose-ester  plastic  materials  shrink 
to  some  extent  with  time  and  upon  exposure  to  varying 
conditions  of  heat  and  moisture.  The  film  processer  wor- 
ries about  the  difficulties  resulting  from  the  stretching 
and  shrinking  of  film  in  his  developing  and  drying  ma- 
chines. The  special-effects  man  is  concerned  about  the 
rocksteady  superposition  of  mask  films.  The  color  lab 
technician  is  likewise  concerned  with  the  registration  of 
his  three  color  separations,  and  in  black-and-white  work 
with  the  bad  effects  resulting  from  negative  shrinkage. 
And  the  projectionist  has  anxieties  of  his  own:  variations 
in  the  normal  shrinkage  of  the  positive  print   films  he 


projects  will  cause  unsteadiness  of  the  pictures  on  the 

screen. 

Film    is    Perforated   Accurately 

Assuming  that  all  camera,  printer,  and  projector  units 
are  correctly  designed  and  maintained  in  top-notch  op- 
erating condition,  the  accuracy  with  which  the  succeed- 
ing frames  of  a  film  are  registered,  one  after  another, 
is  determined  by  the  accuracy  of  the  perforations  punched 
in  the  margins  of  the  film.  Shrinkage  of  the  film  stock 
alters  the  "pitch,"  and  if  the  shrinkage  is  irregular, 
the  accuracy,  of  the  perforations.  When  film  shrinkage 
disturbs  the  accuracy  of  frame  registration  in  printing 
or  projection,  the  bad  effects  result  directly  from  ensu- 
ing inaccuracies  in  the  pitch  of  the  perforations — the 
distance  from  the  edge  of  one  perforation  to  the  corres- 
ponding edge  of  the  succeeding  one. 

Film  is  perforated  accurately  by  the  manufacturer, 
the  errors  in  pitch,  if  any,  being  well  below  the  0.00015- 
inch  tolerance  specified  by  the  American  standards  for 
perforations  in  35-mm  motion-picture  film  stock.  This 
statement  probably  applies  to  all  the  leading  brands  of 
film,  European  as  well  as  American. 

It  would  not  be  an  easy  job  to  discover  any  inac- 
curacies in  the  perforating  job  done  by  the  film  manu- 
facturer, and  would  be  impossible  if  the  film  samples 
had  been  processed,  used,  or  stored  for  any  length  of 
time.  Check-tests  on  perforation  accuracy  must  be  made 
on  unprocessed  raw  stock  immediately  after  it  is  per- 
forated, and  under  the  same  conditions  of  temperature 
and  humidity  maintained  in  the  perforating  rooms.  Such 
check-tests   are   made   at  frequent   intervals   by  the   film 

International   Projectionist        August,   1963 


manufacturer  to  insure  a  consistently  high  quality  of 
product. 

All  film,  even  triacetate,  swells  in  processing  solu- 
tions and  shrinks  upon  drying.  More  important,  film 
normally  swells  when  the  moisture-content  of  the  air 
is  high,  shrinks  when  it  is  low.  and  keeps  on  shrinking 
w  ith  the  passage  of  time.  Old  or  processed  film  can  pro- 
\  ii U»  no  clues  whatever  as  to  the  accuracy  of  the  per- 
forating process. 
Nitrate    Film    Shrank    Severely 

Certain  samples  of  nitrate  film  of  very  ancient  vintage 
reveal  apparent  shrinkages  in  excess  of  1',  in  length,  but 
we  cannot  he  sure  that  the  films  in  question  really  shrank 
so  much — we  do  not  know  what  the  original  perforation 
pitch  may  have  been.  But  we  do  know  that  nitrate  film 
shrank  much  more  badlv  than  modern  triacetate  stock, 
and  in  a  more  irregular  manner. 

The  irregularity  of  shrinkage  is  easily  discovered 
l>\  projection  with  a  mechanism  specially  modified  to 
increase  the  length  of  film  between  the  intermittent 
sprocket  and  the  projector  aperture,  inasmuch  as  shrink- 
age registration  errors  add  up  algebraically,  sometimes 
cancelling  one  another  and  sometimes  stacking. 

\-  all  old-timers  in  the  projection  craft  remember. 
nitrate  film  had  undergone  considerable  improvement 
since  the  earliest  days  of  the  art.  Although  triacetate  film 
is  better  in  main  ways,  nitrate  was  prettv  good  stuff  at 
the  time  acetate  supplanted  it.  After  five  years  of  stor- 
age  under   good   conditions   of   temperature   and    relative 

humidit)     I  7!!:     F    and    (>()',     Rlli.    \ essed    positives 

on  the  best  nitrate  stock  shrank  longitudinal]}  about 
0.0',.  Ordinarv  projection  use  with  repeated  shipping 
and  storage  intervals  under  diverse  conditions  un- 
doubted!) accelerated  the  shrinkage  of  nitrate  and  mav 
have  aggravated  irregularities  in  the  rate  of  shrinkage, 
but  unless  very  old  or  much  abused  in  use.  nitrate  theatre- 
release  prints  gave  fairlv  pood  screen  results. 

It  is  doubtful,  however,  that  the  shrinkage  character- 
istics of  nitrate  release  stock  would  permit  this  type  of 
film  to  be  used  with  satisfactory  results  under  modern 
conditions  of  high-intensitv  widescreen  projection,  or  in 
large  drive-in  theatres.  For  these  conditions  triacetate 
stock  is  preferable. 
Normal   and    Low-Shrinkage   Acetate 

Triacetate  release-positive  film,  processed  and  stored 
at  7!!  F  and  Oil',  KH.  shrinks  onlv  0.1',  in  a  5-year 
period.  Continued  storage  due--  not  appear  to  result  in 
appreciable  additional  shrinkage. 

Triacetate  negative  stock  shrinks  less  than  0.2', 
after  3  years  of  storage  at  78°  and  60',  RH:  and 
no  further  shrinkage  normallv  occurs.  The  sharpness 
of  modern  color-film  prints  is  largely  due  to  the  low 
shrinkage  of  triacetate  negative,  for  large  and  irregu- 
lar shrinkages  in  the  separation  masters,  duplicate  nega- 
tives, imbibition  positives,  etc.  might  result  in  mis- 
registrations  which   would   blur  the  images. 

Special  low-shrink  base  may  not  be  quite  tough 
enough  to  withstand  the  wear  and  tear  and  intense 
heating  of  the  projection  process,  but  it  is  now  nearly 
always  used  for  duplicating  films  as  well  as  for  camera 
negative  stock  to  insure  rocksteady  photographic  images 
in  the  final  prints. 

Since  there  are  16  frames  per  linear  foot  of  stand- 
ard 35-mm  film,  the  frame  pulldown  distance  amounts 
to  three-quarters  of  an  inch.  And  with  4  sprocket  holes 
per  frame,  the  standard  perforation  pitch  must  be  one- 
quarter  of  three-quarters  of  an  inch,  namely.  0.1873" 
between  corresponding  edges  of  two  adjacent  perfora- 
tions. In  actual  practice,  however,  a  slightly  smaller 
perforation  pitch  has  been  agreed  upon  and  universally 
used. 

International  Projectionist        August,  1963 


B&H 


DH 


Fig.  I  —  Shapes  of  film  perforations  in  present-day  use. 
The  B  &  II  <  Bell  &  Howell)  perforation,  oldest  of  the 
jour,  is  the  preferred  type  of  perf.  for  most  negative  film. 
It  was  also  universally  used  for  positive  stock  until  the 
mid-1920's.  and  continued  to  be  used  for  Technicolor 
prints  until  about  1950. 

The  KS  I  Kodak  standard)  rectangular  perforation 
leas  devised  by  J.  C.  Jones  of  Eastman  Kodak  in  1923, 
and  put  into  use  almost  at  once  for  release-print  stock. 
The  improved  Hearing  qualities  of  the  KS  perf.  is  due  to 
the  roundei/  corners;  and  the  increased  height  (from 
0.073  inch  to  0.078  inch)  eliminated  the  mechanical  in- 
terference experienced  with  B  &  II  perfs.  in  one  make 
oj   projector. 

The  1)11  ( Dubray-Houell )  perforation  was  proposed 
in  the  eurh  I930's  to  provide  a  long-life  perforation 
which  could  be  used  in  precision  step-printers  designed 
for  B  &  H  perfs.  The  DH  perf.  was  adopted  for  color 
prints  in  1 '>!(>.  and  resembles  the  KS  perf.  except  for  a 
height  corresponding  to  that  of  the  old  B  &  H  perf.  The 
CS  (CinemaScope)  perforation  is  a  reduced-width  version 
oj  the  Dll  per).  The  use  of  CS-perforated  prints  requires 
the  narrow-tooth  sprockets  now  used  almost  everywhere. 

This  diagram  and  notes  on  perforations  suggested  by 
"Pin  Registration"  by  A.  C.  Robertson,  JOURNAL  OF 
THE  SMPTE,  Feb.  1963. 

"Long"   and    "Short"    Pitches 

The  regular  ■"long*'  pitch  for  the  perforations 
punched  in  all  positive  stock  and  some  negative  and 
intermediate-film  stocks  is  0.1870".  A  special  "short" 
pitch  of  0.1866"  is  also  available  for  negative  films. 
Short-pitch  negative  gives  optimum  results  in  con- 
tinuous-type printers  having  curved  exposure  gates  to 
compensate  for  the  average  amount  of  negative  shrink- 
age encountered  in  the  days  of  nitrate  film. 

Although  the  maximum  amount  of  shrinkage  en- 
countered in  triacetate  theatre-release  prints  is  not  very 
great,  certainly  not  much  greater  than  about  0.4%, 
projectionists  have  sometimes  wondered  whether  this 
normal  shrinkage  is  deleterious  to  the  quality  of  the 
picture  on  the  screen.  The  answer  is  definite:  it  is  not 
harmful  in  any  way  and  cannot  be  perceived  on  the 
screen  so  long  as  the  amount  of  shrinkage,  whatever  it 
may  be,  is  uniform.  Neither  will  there  be  any  mechani- 
cal difficulties  in  the  running  of  the  film.  The  0.943" — ■ 
and   0.945" — diameter   intermittent  sprockets   in   general 


FIG.  2— Evolution  of  the  B&H    perf. 
Old~<style  circular^      B&H  negative 
perforation  perf  ovation 


use  can  accept  film  shrinkages  up  to  0.96%  and  0.75%, 
respectively. 

If.  however,  there  are  variations  in  shrinkage,  some- 
times greater  and  sometimes  less  than  the  mean  value, 
the  picture  will  weave  vertically,  or  "dance,"  in  a  ran- 
dom fashion.  Variations  in  shrinkage  result  in  corres- 
ponding irregularities  in  perforation  pitch,  and  these, 
in  turn,  produce  irregularities  in  frame  registration 
even  though  the  intermittent  movement  of  the  projector 
is  functioning  perfectly. 

Picture-Jump   Tolerance 

It  is  ironic  that  severe  demands  of  mechanical  pre- 
cision must  be  made  of  a  material  as  pliant  and  dimen- 
sionally  variable  as  plastic  motion-picture  film  base. 
On  the  basis  of  accepted  geneva-intermittent  tolerances, 
the  permissible  limit  of  frame  misregistration  is  0.0004" 
(a  vertical  "jump"  of  1/5  inch  on  a  36-foot  screen). 
This  is,  of  course,  nearly  three  times  the  allowable  error 
in  film  perforating  (0.00015"),  but  often  below  the 
shrinkage  error  over  the  3  to  5  frames  of  film  between 
the  intermittent  sprocket  and  the  projector  aperture. 

To  repeat:  a  uniform  degree  of  shrinkage  through 
substantially  long  lengths  of  film  produces  no  visible 
effects  on  the  screen.  It  does  not  cause  the  picture  to 
be  unsteady.  The  trouble  is  caused  by  frequent  varia- 
tions in  shrinkage;  and  the  longer  the  length  of  film 
between  the  intermittent  sprocket  and  the  aperture,  the 
more  pronounced  is  the  weaving  of  the  picture  from  this 
cause. 

How   Weave   is   Caused 

The  distance  from  a  point  in  one  frame  of  stand- 
ard 35-mm  film  to  the  corresponding  point  in  the  suc- 
ceeding frame  is  4  times  the  perforation  pitch.  This 
amounts  to  a  frame  distance  of  0.7480"  in  unshrunken 
long-pitch  (0.1870")  positive  stock.  Assuming  that  the 
shrinkage  in  a  certain  release  print  varies  in  an  ir- 
regular manner  from  0.2%  to  0.4%,  the  frame  dis- 
tance will  vary  from  0.7465"  to  0.7450".  If  there  are 
3  frames  between  the  intermittent  sprocket  and  the 
aperture,  misregistration  can  be  any  amount  up  to  the 
limiting  value  of  3  times  the  difference  in  frame  dis- 
tances, namely,  0.0045",  fully  11  times  the  intermittent- 
movement  jump  tolerance.  If  sprocket  and  aperture  are 
separated  by  5  frames,  the  misregistration  can  have 
any  value  up  to  0.0075",  or  nearly  19  times  the  jump 
tolerance. 

The  0.2% — 0.4%  shrinkage  variation  employed  here 
by  way  of  illustration  is  not  meant  to  suggest  that  varia- 
tions of  this  magnitude  are  common.  They  are  not.  But 
it  seems  probable  that  smaller  variations  in  shrinkage 
are  frequently  responsible  for  small-range  picture  weav- 
ing which  cannot  be  accounted  for  by  any  known  me- 
chanical   factors    in    the    projector    mechanism. 

The  print,  however,  is  not  always  the  culprit.  Similar 

6 


picture-weaving  effects  may  be  produced  by  printing  from 
badly  shrunken  negatives.  The  effect  of  severe  negative 
shrinkage  is  easily  distinguished  when  the  printer  used 
was  of  the  "continuous"  type  in  which  the  negative  and 
positive  raw  stock  are  pulled  continuously  (without  inter- 
mittent motion )  past  an  exposure  slit.  In  such  a  case  the 
vertical  dimension  of  the  projected  picture  expands  and 
contracts  in  an  irregular  manner  to  produce  an  unusual, 
but  characteristic,  weaving  effect.  A  projector  cannot  give 
this  peculiar  effect. 

Ancient  nitrate  negatives  used  for  printing  reissued 
"screen  classics"  and  TV  "late  show"  releases  are  the 
most  likely  to  give  unsteady  images  on  the  screen  and  a 
tremendous  flutter  in  the  accompanying  optical-track  re- 
production. 

Effect  of   Non-Uniform   Conditions 

Because  the  original  structure  and  composition  of 
film  stock  is  absolutely  uniform,  and  because  film  is  al- 
ways manufactured  under  uniform  conditions  of  temper- 
ature and  relative  humidity,  the  finished  product  may 
be  expected  to  undergo  its  normal  shrinkage  in  a  uniform 
manner.  That  it  does  so  even  in  spite  of  very  non-uniform 
conditions  of  subsequent  treatment,  storage,  and  use  is 
indicated  by  the  extreme  rocksteadiness  of  most  profes- 
sionally produced  motion  pictures.  It  is  the  exceptions 
that  particularly  interest  us. 

As  a  matter  of  fact,  the  exceptional  nature  of  shrinkage 
variations  large  enough  to  produce  visible  vertical  danc- 
ing of  the  projected  pictures  leads  us  to  look  for  differ- 
ential effects  in  the  conditions  to  which  some,  or  perhaps 
most,  theatre-release  prints  are  subjected.  It  is  well  known 
that  moisture  and  heat  have  the  greatest  effect  upon  the 
dimensions  of  cellulose-ester  films,  but  release  prints  are 
also  subjected  to  processing  solutions,  protective  waxes 
or  lacquers,  film  cleaning  solvents,  and  the  inevitable  oil 
and  grease  which  comes  off  the  projectors. 

It  is  believed  that  the  normal  gradual  shrinkage  of 
film  is  caused  by  the  slow  loss  of  plastic  solvents  from 
the  base  material.  The  loss  of  these  substances  is  accel- 
erated by  heat  and  moisture.  Short-term  exposure  of  film 
to  excessively  dry  or  moist  air  produces  changes  which 
are  reversed,  with  some  degree  of  restoration  of  the  film 
to  its  original  physical  condition,  by  long-term  storage 
under  the  ideal  temperature  and  humidity  conditions 
which  prevailed  during  its  manufacture.  Inasmuch  as 
weeks  or  months  of  such  storage  make  it  out  of  the  ques- 
tion for  heavily  booked  release  prints  (periodically  sub- 
jected to  intense  heat)  these  films  may  shrink  rather 
rapidly  and  possibly  in  an  irregular  manner. 

Projector   Design    Important 

Contrary  to  popular  belief,  prolonged  exposure  of  film 
to  excessively  moist  air  hastens  shrinkage.  So  long  as  the 
air  remains  humid,  the  film  swells  slightly  and  remains 
pliant  and  soft,  and  the  gelatine  emulsion  is  then  especial- 
ly liable  to  destruction  by  the  growth  of  molds.  But  when 
taken  into  normally  dry  air,  the  effects  of  solvent  loss,  ap- 
parently hastened  by  the  moisture  to  which  the  film  was 
previously  exposed,  begin  to  show  up.  The  film  will  be 
found  to  have  shrunk  more  than  films  of  similar  age  not 
subjected  to  high  humidities. 

If  variations  in  shrinkage  cannot  be  entirely  prevented 
by  the  most  intelligent  care  which  we  are  able  to  accord 
release  prints,  then  it  behooves  the  designers  of  motion 
picture  projectors  to  position  the  intermittent  sprocket 
as  close  below  the  film  aperture  as  possible  to  minimize 
the  shrinkage-variation  weave  of  the  projected  pictures. 
A  2-frame  sprocket-to-aperture  film  distance  is  entirely 

International    Projectionist        August,    7963 


Fig.  -i  —  In  exploring  the  possible  causes  of  weave-pro- 
ducing  variations  in  film  shrinkage,  the  effect  of  the 
flange  design  of  shipping  reels  is  mentioned  in  the  ac- 
companying article.  Is  the  film  more  quickly  affected  by 
humidity  and  heat  where  exposed  by  the  large  holes  than 
where  covered  by  the  solid  portions  of  the  flanges? 
Other  suggested  causes  of  shrinkage  variations  are  oil  mot- 
tle on  film,  deposits  of  edge-wax,  and  uneven  or  careless 
rewinding  of  the  film  for  shipment  or  storage. 


feasible  r\ni  though  all  presently  used  theatre  projectors 
allow  a  longer  length  of  film  to  exist  between  the  sprocket 
and  the  aperture. 

This  suggestion  is  nothing  new  to  the  manufacturers  of 
cameras,  optical  printers,  and  background  projector 
heads.  They  wisely  position  their  claw  pulldowns  and  reg- 
istration pin-  vejrj  close  to  the  aperture,  thus  practically 
eliminating  the  annoying  effects  of  an)  shrinkage  varia- 
tions which  ma)    be  present  in  the  film-. 

Possible   Causes   of   Variation 

It  is  possible  that  variations  in  the  tightness  of  the 
film  in  a  roll  may  induce  irregularities  in  shrinkage  by 
\  irtue  of  uneven  mechanical  strain.  Stresses  of  this  nature 
ma\  be  verj  significant  during  the  natural  aging-shrink- 
ing period  in  the  life  of  the  film.  For  this  and  other  rea- 
sons the  projectionist  should  make  certain  that  his  pro- 
jector takeups  and  bench  rewinders  are  properly  aligned 
and  wind  up  the  film  smoothly  under  reasonably  uniform 
tension. 

Film  which  has  been  roughly  or  irregularly  rewound 
on  hand  rewinders  las  during  inspection  and  print  repair  I 
should  never  be  stored  or  shipped  out  until  after  it  has 
been  smoothly  rewound  on  a  low-speed  motorized  machine 
having  accurately  aligned  elements.  The  exchanges'  sug- 
gestion that  the  reels  of  film  be  returned  without  rewind- 
ing after  their  last  showing  is  a  very  good  one.  as  projec- 
tors in  good  working  order  wind  up  the  film  very  uni- 
formly. Nevertheless,  many  projectionists  refuse  to  use 
shipping  reels  in  the  projectors,  admittedly  a  dangerous 
practice  when  the  shipping  reels  are  badly  bent  and  bat- 
tered out  of  shape.  It  is  clearly  the  responsibility  of  the 
film  exchanges  to  provide  good  reels. 

It  is  also  possible  that  the  flanges  of  metal  shipping 
reels  permit  a  differential  "conditioning"  of  film  by  ex- 
posing the  edge  of  the  roll  to  free  circulation  of  air 
through  the  large  holes  in  the  flanges,  and  covering  the 
edge  of  the  roll  under  the  solid  sections.  The  writer  per- 
sonally believes  that  this  could  be  a  significant  factor  only 
when  the  reels  of  film  are  removed  from  the  shipping 
cases  in  an  unusually  hot  and  humid    ("quick-acting") 

International  Projectionist        August,  1963 


atmosphere.  In  any  case,  film  should  be  wound  on  a  core 
as  a  bare  roll  and  placed  in  a  metal  can  for  long-term 
storage  under  the  conditions  recommended  in  the  booklet 
"Storage  and  Preservation  of  Motion  Picture  Film"  (East- 
man Kodak  Co.,  Rochester,  N.  Y.,  50c). 

Still  another  possibility  is  that  variations  in  the  distri- 
bution of  projector  oil,  grease,  lubricating  wax,  etc.  ad- 
hering to  the  film  is  the  cause  of  some  shrinkage-variation 
in  used  release  prints.  Moisture  presumably  passes  into 
the  film  more  slowly  through  oil  than  when  unobstructed. 
And  if  the  film  is  subsequently  cleaned  with  carbon  tetra- 
chloride. Freon  compound,  or  methyl  chloroform,  possible 
extra  loss  of  film  solvents  with  the  removed  oil  and  dirt 
might  conceivably  alter  the  pattern  of  shrinkage  varia- 
tions. This  is  a  matter  worthy  of  study  by  film  technolo- 
gists because  we  know  so  little  about  the  effects  of  oil, 
wax.  and  cleaning  fluids  on  film  shrinkage. 

Booth    "Treatment"   of    Film   Tabu 

Except  for  the  cleaning  of  short  rolls  of  trailers  and 
announcement  titles  in  the  projection  room  with  a  pad  of 
soft  cloth  moistened  with  film-cleaning  fluid,  no  attempt 
should  be  made  by  the  projectionist  to  undertake  an  ex- 
fensive  and  tricky  cleaning  job  which  is  the  responsibility 
of  the  exchange  supplying  the  print.  Careless  cleaning, 
with  failure  to  renew  the  soiled  pad  frequently,  may 
scratch  and  mottle  the  film.  The  Kodak  booklet  men- 
tioned previously  gives  directions  for  cleaning  film  man- 
ually. 


Never   —   and    we   mean    never! 


"humidify"   or 


'"steam-treat"  motion-picture  film!  With  the  best  of  in- 
tentions a  few  misguided  projectionists  have  been  known 
to  pass  film  through  a  steaming  arrangement  while  re- 
winding it  and  to  store  the  reels  in  bins  having  wet 
blotters  or  open  pans  of  water.  The  idea,  of  course,  is  to 
"restore  the  moisture"  expelled  from  the  film  during  pro- 
jection. These  are  not  approved  methods  for  "restoring 
moisture"  even  if  that  expedient  were  deemed  desirable. 
Treating  film  with  steam  will  ruin  it.  Storing  it  in 
humidifiers  or  over  water  will  hasten  shrinkage,  possibly 
shrink  it  irregularly  if  the  film  is  put  into  a  moist  atmos- 
phere while  still  warm  from  the  projectors,  spot  the  emul- 
sion, and  lay  the  film  open  to  fungus  attack. 

Other   Causes   of   Weave 

Examination  of  picture  quality  in  theatre  after  theatre 
indicates  that  sidesway  originating  in  flat-gate  projectors, 
especialh  in  CinemaScope  anamorphic  projection,  is  a 
more  serious  matter  than  the  very  small  amount  of  verti- 
cal unsteadiness  which  in  most  cases  is  visible  only  from 
a  vantage  point  relatively  close  to  the  large  theatre  screen. 
Such  unsteadiness  is  only  rarely  troublesome,  but  it  would 
be  best  not  to  have  any  unsteadiness  at  all.  Naturally, 
there  is  nothing  the  projectionist  can  do  to  correct  mat- 
ters when  a  jumping  picture  is  printed  on  the  film,  as  is 
sometimes  the  case  with  technically  unpretentious  pictures 
of  foreign  origin  and  with  reissues  printed  from  old  nega- 
tives. 

Although  there  is  some  evidence  that  shrinkage  vari- 
ations in  well-worn  prints  is  rather  common,  it  would  be 
a  big  mistake  to  assume  that  all  random  small-range  ver- 
tical weavings  of  projected  pictures  are  due  to  this  cause 
alone.  If  the  intermittent  movement  of  the  projector  is  in 
good  condition,  and  the  teeth  of  the  sprocket  unworn, 
similar  effects  can  be  produced  by  uneven  gate  tension, 
the  wrong  amount  of  gate  tension,  a  loose  intermittent- 
sprocket  shoe,  the  bad  practice  of  making  excessively 
large  upper  and  lower  film  loops,  torn  or  badly  abraded 
perforations,  and  an  unsteady  pedestal  or  support  for  the 
projector.  iP 


National  Carbon  Tour  Shows 
Carbon  Mfg.  Technology 


By  Ray  Gallo 

We  had  the  pleasure,  recently,  of 
taking  a  behind-the-scenes  look  at 
how  arc  carbons  are  made  in  Ameri- 
ca's only  projector  carbon  plant,  the 
Fostoria  branch  of  National  Carbon 
Co.  (a  division  of  Union  Carbide 
Corp.) 

With  our  hosts,  J.  W.   (Bill)    Cos- 


by, marketing  manager,  and  Philip 
H.  Freeman,  sales  manager  of  the 
arc  carbon  products,  we  flew  with  a 
group  of  trade  press  editors  and  sev- 
eral key  personnel  executives  from 
National  Carbon  Co.  to  Fostoria  and 
Parma.    Ohio    in    a    Union    Carbide 

(Please  turn  to  page  14) 


ON  THE  NATIONAL  CARBON  TOUR  are  shown  J.  W.  (Bill)  Cosby,  Na- 
tional Carbon  marketing  manager;  C.  J.  Chapman,  vice  president  of  marketing 
for  National  Carbon;  Ray  Gallo,  eastern  representative  for  INTERNATIONAL 
PROJECTIONIST,  and  Philip  H.  Freeman,  sales  manager  for  carbon  arc  products. 


The  History  Of  The  Carbon  Arc 


In  the  year  1801  an  English  scien- 
tist, Sir  Humprey  Davy,  produced  a 
brilliant  light  between  two  carbon 
rods  connected  to  a  high-voltage  gal- 
vanic battery.  He  named  his  dis- 
covery "carbon  arc."  But  because  the 
galvanic  battery  was  the  only  source 
of  continuous  electric  current,  any 
commercial  exploitation  of  the  brilli- 
ant source  of  radiant  energy  was 
precluded.  Three-quarters  of  a  cen- 
tury later,  Charles  F.  Brush,  with  the 
invention  of  the  power-driven 
dynamo,  applied  the  carbon  arc  as  an 
economically  feasible  source  of  illum- 
ination. 

The  high-intensity  carbon  arc  in 
these  days  is  so  taken  for  granted  as 

8 


a  light  source  for  screen  illumination 
that  little  thought  is  given  to  what 
actually  creates  the  light. 

The  National  Carbon  Co.  (a  divi- 
sion of  the  Union  Carbide  Corp.) 
was  host  to  the  trade  press  recently. 
The  trade  press  representatives  visited 
National  Carbon's  headquarters  in 
Cleveland,  to  the  Fostoria  plant, 
where  they  manufacture  the  carbons, 
and  Parma  laboratory,  a  carbon  arc 
research  center. 

The  carbon  arc  is  the  preferred 
source  of  light  for  applications  requir- 
ing extremely  high  brilliancy.  It  can 
produce  the  highest  useful  brightness 

(Please  turn   to  page  12) 


National   Carbon   Company 
Arc  Carbon   Development1   Personnel 

W.    J.    Spry,    Development    Manager,    Fostoria 
Laboratory 

B.    S.    Physics,    University    of    Rochester; 
Ph.     D.     Nuclear     Physics,     University     of 
Rochester. 

Company    Service — 9    years. 

Research    Physicist,    Research    Group    Leader. 

Fields  of  Special  Competence:  Solid  state 
physics — carbon   and   graphite   technology. 

Member    of    American    Physical    Society. 
E.     L.     Piper,     Division     Manager     for     Product 
Development 

B.    S.    Physics,  Case    Institute   of  Technology; 

M.    S.    Physics,    University   of    Illinois. 

Company     Service — 12    years. 

Research  Physicist,  Research  Group  Leader, 
Development   Group   Leader. 

Fields  of  Special  Competence:  Classical 
physics — carbon    and   graphite  technology. 

Member  of  Cleveland  Physics  Society,  Cleve- 
land  Astronomical    Society. 
J.    Weinard,    Division    Manager    for    Laboratory 
Services  and   Materials   Evaluation 

Liciencie-es-Science-Physique,  University  of 
Nancy,  France;  M.  S.  Physics,  Ph.  D. 
Physics,  University  of  Saarbrucken,  Ger- 
many. 

Company    Service — 7    years. 

Development  Engineer,  Development  Group 
Leader. 

Fields  of  Special  Competence:  Atomic 
physics — spectroscopy  and  X-ray — carbon 
and    graphite    technology. 

Member    American    Optical    Society,    Ameri- 
can   Physical    Society,    Society    of    Applied 
spectroscopy.       Committee       Member       of 
ASTM. 
W.    R.    Lauzau,    Development   Group    Leader 

B.  S.  Chemistry,  Niagara  University;  M.  S. 
Chemistry,    University    of    Toledo. 

Company    Service — 12    years. 

Development    Engineer. 

Fields  of  Special  Competence:  Chemistry — 
carbon  processing  —  high  temperature 
compounds — arc    carbons — optics. 

Member    of    Space    Simulation    Subcommittee 
of     ASTM,     American     Chemical     Society, 
American     Institute    of     Chemists,     Ameri- 
can   Ceramic    Society. 
J.  T.  Cedargren,  Development  Engineer 

B.  S.  Mechanical  Engineering,  Ohio  State 
University. 

Company    Service — 3    years. 

Design    Engineer. 

Member     of    Ohio     Society     of     Professional 
Engineers,    Associate    member    of    ASME. 
L.    H.    Matthews,    Development    Engineer 

B.  S.  Physics,  Washington  and  Jefferson 
College. 

Company    Service — 1     year. 

Fields   of    Special    Competence:    Spectroscopy 
and  X-ray. 
M.    R.    Riek,    Development    Engineer 

B.    S.    Chemical    Engineering,    Fenn    College. 

Company  Service — 4  years. 

Fields    of    Special    Competence:    Illuminating 
carbons. 
W.    W.    Lozier,   Consultant 

A.  B.  in  Physics  from  DePauw;  Ph.  D.  in 
Physics  from  University  of  Minnesota; 
additional  studies  at  Princeton  and 
Columbia. 

Fields  of  Special  Competence:  Arc  and  gas 
discharge  pheonomena — illuminating  car- 
bons —  arc  image  furnace  —  re-entry 
studies. 

Member  of  American  Physical  Society,  So- 
ciety of  Motion  Picture  &  Television 
Engineers,  Illuminating  Engineering  So- 
ciety. 

Marketing  Personnel 

C.     J.     Chapman,     Vice     President,     Marketing 
L.   F.    Granger,  Advertising    Manager 
J.    W.    Cosby,    Marketing    Manager,    Arc    Car- 
bon  Products 
P.     H.    Freeman,    Sales    Manager,    Arc    Carbon 

Products 
P.     D.     Ries,     Manager,     Engineering     Services, 

Arc     Carbon     Products 
W.     R.     Kraft,     Staff     Assistant,     Arc     Carbon 
Products 

Arc  Carbon  Product  Sales  Engineers 

W.  T.    Brenner  C.   E.   Heppberger 

R.    D.    Brissey  J.  B.  Hoynes 

E.  A.   Bowen  V.    D.    Johnson 

C.  W.   Handley  G.    H.    Mayer 
S.     Morley,     Jr. 
J.   C.    Naughton 

D.  P.  White 

From     Union    Carbide     International    Co. 

0.   B.   Rendahl,  General   Sales  Manager,  Carbon 

and    Graphite    Department 
R.    Raya,  Area    Sales  Manager 
M.    R.    Null,    Senior    Scientist 

From    J.    M.    Mathes    Inc. 

Gordon    Dille,   Publicity   Account   Executive 

J.    E.    Jamison,    Art    Director 

D.  T.  Meade,  Assistant  Account  Executive 

International    Projectionist        August,    1963 


■ ■HHHHHi : 


A  Scene  From  America's  Projector  Carbon  Center. 


Equipment  for  coating  carbons  with  copper 


it 


Coating*  projector  carbons  with  the  right  amount 
of  copper  is  a  top-billing  production  step" 


This  equipment  performs  the 
important  task  of  coating  pro- 
jector carbons  with  copper— not 
for  eye  appeal,  but  for  the  vital 
purpose  of  assuring  more  de- 
pendable screen  lighting.  The 
coating  helps  conduct  current  from  the  jaws  of 
the  lamp  to  the  arc.  For  maximum  light  effi- 
ciency the  copper  coating  must  be  of  precision 
thickness  — no  more  — no  less! 

From  the  coating  operation  at  National  Car- 
bon's plant  in  Fostoria,  Ohio,  projector  carbons 
move  on  to  an  automatic  resistance  test,  where 
a  direct  reading  instrument  measures  in  ohms- 


-says  SID  MORLEY 

National  Carbon  Sales  Engineer 

per-inch  the  coating  on  each  carbon.  If  the  coat- 
ing is  too  thin  or  too  thick,  the  unwanted  carbon 
is  ejected  from  the  line. 

How  is  this  rigid  test  related  to  good  lighting? 
First,  if  the  coating  is  too  thin,  the  carbon  might 
spindle  back  to  the  holder,  resulting  in  freezing 
and  a  possible  lamp  shutdown.  Secondly,  if  too 
thick,  it  might  produce  copper  dripping  and 
cause  the  arc  to  wander. 

In  coating  and  all  other  manufacturing  steps, 
National  Carbon  utilizes  today's  most  reliable 
quality  control  methods.  We  want  to  be  sure 
your  patrons  get  the  finest  screen  lighting  that 
projector  carbon  money  can  buy ! 


Contact 
Mr.  National  Carbon 


UNION 
CARBIDE 


"National"  and  "Union  Carbide"  are  registered  trade-marks  'or  products  of 

NATIONAL  CARBON   COMPANY 

Division  of  Union  Carbide  Corporation  •  270  Park  Avenue  •  New  York  17,  N.  Y. 
In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


Today's  audiences  respond  eagerly  to  high  technical  quality  in  showmanship— quality  that  starts  with 
sharp  negatives  and  sharp  prints.  So— go  Eastman  all  the  way— negative  and  print  stock.  And  be  sure 
to  give  the  laboratory  time  to  do  its  job  right.  Most  important,  if  you  have  questions— production,  proc- 
essing, or  projection— always  get  in  touch  with  Eastman  Technical  Service.  For  more  information  on  this 


wrm 


subject,  write  or  phone:  Motion  Picture  Film  Department.  EASTMAN  KODAK 
COMPANY,  Rochester  4,  N.  Y.  Or-for  the  purchase  of  film:  W.  J.  German, 
Inc.,  Agents  for  the  sale  and  distribution  of  EASTMAN  Professional  Film  for 
Motion  Pictures  and  Television.  Fort  Lee,  N.  J.,  Chicago,  III.,  Hollywood,  Calif. 


EA^TlJlAN  FILM 
I       J     J       1       I 


When  the 
print's  sharp... 
the  audience 
gets  the 
point 


Today's  audiences  respond  eagerly  to  high  technical  quality  in  showmanship-quality  that  starts  with 
sharp  negatives  and  sharp  prints.  So-go  Eastman  all  the  way-negative  and  print  stock.  And  be  sure 
to  give  the  laboratory  time  to  do  its  job  right.  Most  important,  if  you  have  questions-production,  proc- 
essing, or  projection-always  get  in  touch  with  Eastman  Technical  Service.  For  more  information  on  this 


s"b|ect.  write  or  phone:  Motion  Picture  Film  Department.  EASTMAN  KODAK 
COMPANY,  Rochester  4,  N.  Y.  Or-for  the  purchase  of  film:  W.  J.  German, 
lnc'.  Agents  for  the  sale  and  distribution  of  EASTMAN  Professional  Film  for 
Motion  Pictures  and  Television.  Fort  Lee.  N.  J..  Chicago,  III..  Hollywood,  Calif. 


Extrusion  of  hollow  arc  carbon  from 
a   hydraulic   press. 


Arc    carbons   cut    into     lengths    for 
further  processing. 


Hand  placement  of  arc  carbons  into 
saggers  for  oven  baking. 


One  of  many  visual  inspections  dur- 
ing arc  carbon  manufacture. 

12 


HISTORY  from  page  8 

of  any  known  artificial  light  source, 
and  provides  a  color  quality  matching 
that   of  sunlight. 

The  brightness  of  the  high-intensity 
arc  results  from  a  combination  of 
high  current  density  (resulting  from 
a  high  concentration  of  electrons  in 
the  arc  stream  I  and  an  atmosphere  on 
the  positive  crater  region  that  is  rich 
in  flame  materials  volatilized  from 
the  core  in  the  positive  carbon.  As 
the  carbon  burns  to  form  a  crater,  the 
core  is  exposed  to  the  extreme  arc 
temperatures  in  excess  of  10.000 
degrees  F.,  approximately  that  of  the 
sun's  surface. 

The  Story  of  Fostorsa   Know-How 

As  is  true  of  any  quality  product, 
the  manufacture  of  arc  carbons 
begins  with  careful  selection  and 
preparation  of  raw  materials. 

In  the  extrusion  operation,  carbon 
is  squeezed  out  by  the  pressure  of  an 
hydraulic  ram. 

At  the  other  end  of  the  70-foot  run, 
lengths  of  carbon  are  cut  and  checked 
for  size.  This  is  but  one  of  approxi- 
mately 60  quality  control  inspections 
the  arc  carbons  will  undergo  during 
their  manufacture. 

Loaded  saggers  are  next  placed  in 
huge  gas-fired  baking  ovens,  and  the 
lengthy  baking  cycle  begins.  A  tem- 
perature in  excess  of  1800  degrees  F. 
is  reached,  which  fully  "bakes"  the 
carbons. 

The  longer  lengths  of  carbon  are 
then  cut  to  more  nearly  their  finished 
size,  and  several  more  inspections  are 
made,  including  a  visual  check.  Also 
very  important  is  the  straightness  of 
the  arc  carbon,  and  every  one  is 
passed  under  an  accurately-position- 
ed guage,  with  those  that  are  only  a 
few  thousandths  of  an  inch  out  of 
alignment   rejected. 

The  carbons  are  then  baked  again 
briefly  to  set  the  core  material,  and 
the  positive  carbons  undergo  X-ray 
examination  that  detects  any  core 
flaws. 

As  part  of  its  continuing  technical 
service  to  motion  picture  exhibitors. 
National  Carbon  also  evaluates  other 
light  sources  that  are  introduced  from 
time  to  time  and  reports  its  findings. 
The  carbon  arc,  however,  continues  to 
outperform  all  other  sources  of  screen 
illumination,  and  still  holds  the 
greatest  promise  as  the  most  brilliant 
li«ht  source  of  the  future. 

The    Parma    Research   Story 

To  project  motion  pictures,  or  to 
illuminate  motion  picture  studios,  it 
is  necessary  to  collect  the  light  emitt- 
ed by  the  carbon  arc  and  project  it 
where  needed.  Research  devoted  to 
improving  the  process  requires  study 


■■■HI 

A  close  check  of  arc  carbon  diameter 
prior  to  further  processing. 


All  arc  carbons  must  pass  stringent 
straightness  tests. 


Projection   booth  is  operated  to  test 
carbons  under  actual  theatre  conditions. 


Recording  spectroradiometer 
matically  measures  and  charts 
spectrum. 

International   Projectionist        August, 


auto- 
color 


1963 


of  the  arc  itself  and  of  the  optical 
system  used  to  project  the  light.  Thus 
there  are  facilities  at  the  Parma  re- 
search laboratory  of  National  Carhon 
to  measure  the  brightness  and  color 
of  the  arc  crater,  as  well  as  for  pro- 
jecting motion  pictures  in  a  theatre- 
size  auditorium  to  test  the  complete 
-\<tem  under  normal  operating  con- 
ditions. 

In  measuring  the  color  of  a  carbon 
arc.  light  from  the  crater  is  received 
on  a  diffusing  plate  in  front  of  the 
-lit  of  a  recording  spectro-radiometer. 
Light  enters  the  ?lit.  and  a  grating  in- 
side separates  the  component  colors 
of  the  white  light  that  enters.  The 
instrument  automatically  measures 
the  amount  of  each  color  present  and 
records  the  figures  on  a  chart  that 
-hows  the  amount  of  energy  present 
at  each  wavelength  throughout  the 
\  i-ihle  spectrum.  The  light  meters 
seen  in  the  background  measure  the 
intensity  of  the  projected  beam  to 
determine  the  distribution  efficienc) 
of  a  lamp's  optical  s\slcm  as  well  as 
the  overall  light  output. 

History    of   the    Carbon    Arc 

In  the  earliest  days  of  the  motion 
picture  industry,  a  light  source  was 
coupled  to  a  projector  for  "screen 
projection  for  an  audience  of  main 
people."  The  initial  light  source  used 
a  block  of  calcite.  hut  it  was  soon 
replaced  by  the  carhon  arc.  Through 
the  years,  technological  advances  in 
the  art  of  motion  picture  production 
brought  developments  such  as  "talk- 
ie-."' adding  a  sound  tract  to  film  and 
creating  problems  both  of  quiet  studio 
lamps  and  of  silent  projection.  The 
advent  of  color  film  increased  film 
density,  calling  for  a  source  of  light 
to  illuminate  a  scene  and  project  an 
image  through  film  with  onlj  one- 
tenth  the  speed  of  black-and-white 
film,  while  matching  the  color  balance 
of  the  sun.  Drive-in  theatres  were 
built  with  beam  throws  more  than 
MO  feet  long,  and  wide-screen  sys- 
tems  increased  lateral  dimensions  to 
as  much  as  150  feet.  Even  with  all 
projected  light  passing  through  an 
aperature  the  size  of  a  postage  stamp, 
the  high  levels  of  screen  brilliance 
were  made  possible  by  the  carbon  arc 
meeting  these  and  other  challenges. IP 

Projectionist   Develops 
New   Device   for 
Carbon-Saving 

NEVA  l  ORK  —  The  Master  carbon 
saver  has  been  developed  by  an  IA 
projectionist  "who  spent  50  years  in 
a  projection  booth."  Distributed  by 
Master  Specialty  Products.  200  West 
72nd  St.,  New  York  23.  N.  Y..  the 
carbon  saver  is  also  available  at  the- 


atre supply  dealers. 

Decreasing  present  projection  cost 
by  decreasing  carbon  waste  with  the 
Master  saver  is  claimed,  allowing  the 
projectionist  to  "relax  with  freedom 
from  fear  of  show  interruption  or 
arc  disturbance." 

The  carbon  saver  is  made  of  high 
grade  heat-resistant  steel,  contain- 
ing no  springs,  screws,  bolts,  nuts  or 
carbon  grinding,  the  manufacturer 
states.  The  carbon  is  tapped  into  the 
carbon  saver  by  "precision  taper." 

The    carbon    saver    is    made    for 


Suprex  non-rotating  arc  lamps  and 
also  for  the  rotating  type,  designed  to 
feed  itself  into  the  positive  contacts. 
The  Master  carbon  saver  is  available 
for  delivery  on  the  Strong  high  in- 
tensity rotating.  Ashcraft  Super  Pow- 
er rotating,  Super  Cinex,  Core-Lite 
and  Peerless  Hy-Candescent  rotating 
arc  lamp.  Suprex  universal  non- 
rotating  type  for  high  intensity. 
Sizes  6.  7.  o.  9mm  for  the  Suprex 
type  and  10,  11,  13.6  for  the  rotating 
lamp.  S3. 50  each:  13.6mm.  $4.50 
each.  iP 


£    * 


HIGHEST 

SPEED 

IN  PROJECTION 

Kollmorgen  lenses  rate  tops  in  the  motion 
picture  industry.  Used  exclusively  with 
Cinerama,  they  are  standard  equipment 
in  more  than  707c  of  American  theaters. 
High  light  uniformity  and  less  light  loss 
on  the  screen — the  whole  screen — are  typ- 
ical of  the  outstanding  performance  of 
super  snaplite"  lenses. 

Other  advantages  that  add  up  to  supe- 
rior screening  with  super  snaplite  are: 


Wire  sharp  contrast 
Uniform  illumination 
Crystal  clarity 

Wide  range  of  focal  lengths 
Sealed  construction 


Bulletin  222  describes  Kollmorgen 
lenses  in  detail.  See  your  equip- 
ment dealer,  or  write  us  direct. 


CORPORATION 

NORTHAMPTON,  MASSACHUSETTS 


International  Projectionist        August,  1963 


13 


THE  V.F 


^SOPE* 


REG.U.S.PAT.OFF. 


IN  PROJECTOR  PARTS 

YES,  the  Very  Finest  in  Projector  Parts  for 
over  50  years.  The  ultimate  in  precision,  long- 
life  and  dependability.  Available  through  your 
Theatre  Equipment  Dealer. 


How  electrical  noise  is  produced  • . . 
calculated  .  . .  measured  . .  •  controlled 


Here  are  the  basic  facts  about  electrical  noise  — how  it  originates 
in  circuits  .  .  .  what  terms  describe  it  .  .  .  how  to  measure  it  .  .  . 
how  to  design  circuits  to  minimize  its  undesirable  effects.  The 
physical  nature  of  the  various  sources  of  noise  are  clearly  de- 
scribed, including  such  sources  as  thermal  agitation  or  resistance 
noise  .  .  .  shot  noise  in  vacuum  tubes  and  semiconductor  junctions 
.  .  .  noise  from  spontaneous  emission  of  electromagnetic  radiation 
.  .  .  and  noise  in  gas  discharges.  This  practical  book  also  explains 
auxiliary  mathematical  techniques,  and  discusses  the  relation  of 
signal  and  noise  in  various  types  of  communication  systems.  For 
ease  in  use,  the  simple  tuned  circuit  associated  with  a  device  for 
measuring  average  power  is  made  the  basic  tool  for  analyzing 
noise. 


ELECTRICAL 


270  pages,  6x9 
105  illustrations 
$10.00 


By  WILLIAM   R.   BENNETT 

Data  Communications  Consultant,  Bell  Telephone  Laboratories,  Inc. 


Each  chapter  in  this  helpful  book  begins  in 
a  simple,  practical  manner  and  works  toward 
more  complicated  examples.  For  example,  prop- 
erties of  thermal  noise  and  its  relation  to  black- 
body  radiation  are  deduced  from  basic  laws 
of  thermodynamics  and  statistical  mechanics. 
You  also  will  find  a  clear  treatment  of  elemen- 
tary quantum  mechanics  in  discussions  of  the 
maser  and  of  noise  in  semiconductors.  And,  in 
describing  noise  properties  of  various  devices, 
the  book  fills  in  your  working  background  with 
basic  facts  on  junction  diodes  —  transistors  — 
gas  discharge  tubes— klystrons— traveling  wave 
amplifiers— and  others.  Both  independent  and 
dependent  noise   sources  are   analyzed. 

In  addition  to  the  standard  theory  of  noise 
figure  and  its  significance,  a  treatment  is  given 
of  the  more  comprehensive  Haus-Adler  theory 
of  noise  measure.  Throughout,  the  book  stresses 
the  universality  of  noise-like  phenomena.  Noise 
formulas  for  diodes  and  transistors;  noise  gen- 
eration to  meet  specifications;  design  of  ampli- 
fiers for  minimum  noise  effects— these  and  many 
other  topics  "are  covered.  A  comprehensive  re- 
view of  noise  in  the  various  methods  of  signal 
transmission  such  as  amplitude  modulation  .  .  . 
frequency  modulation  .  .  .  and  the  different 
lands  of  pulse  modulation  is  included. 


14 


CONTENTS 

1.  General  Properties  of  Noise 

2.  Thermal  Noise 

3.  Distribution  of  Magnitudes  in  Noise  Sources 

4.  Noise  in  Vacuum  Tubes 

5.  Noise  in   Semiconductors 

6.  Noise  in  Electromagnetic  Radiation 

7.  Noise-generating  Equipment 

8.  Noise  Measurements  and  Techniques 

9.  Design  of  Low-noise  Equipment 

10.  Application    of    Fourier    Analysis    to    Noise 
Problems 

11.  Noise  in  Communication  Systems 


S       INTERNATIONAL  PROJECTIONIST 

|       Post  Office  Box  6174 

!       Minneapolis  24,  Minnesota 

Please  send  me  a  copy  of  "Electrical  Noise" 
by  William   R.   Bennett.   (1   enclose  $10.00.) 

NATIONAL  CARBON 

from  page  8 

plane.  We  spent  a  very  pleasant  and 
educational  two  days  inspecting  de- 
velopment and  research  laboratories. 

This  was  the  first  tour  of  arc  car- 
bon production  and  processing  tech- 
niques ever  extended  to  the  motion 
picture  press.  To  this  reporter  the  re- 
velation was  a  very  illuminating  ex- 
perience, and  I,  who  has  spent  the 
greatest  part  of  my  career  in  the  mo- 
tion picture  trade  press  industry,  feel 
I  have  learned  a  great  deal  by  it. 

Basic  research  and  work  on  the 
physics  of  carbon  arc  as  a  light 
source  has  become  a  "perfect  science" 
with  National  Carbon  Co.'s  techni- 
cal staff  in  Fostoria  and  Parma.  In 
addition  about  1,000  plant  workers 
in  the  actual  processing  steps  of  mak- 
ing a  studio  or  theatre  arc  carbon 
there  are  over  350  scientists  engaged 
in  research  and  development  in  the 
U.  S.  operation  alone.  Several  other 
plants  and  laboratories  in  other 
parts  of  the  country  and  overseas  are 
engaged  in  various  other  by-product 
activities.  In  fact,  Union  Carbide 
Corp.  and  its  many  subsidiaries,  in- 
cluding the  international  division, 
represent  an  operation  employing 
nearly  150,000  people  world  wide. 
About  10%  of  this  figure  is  engaged 
in  arc  carbon  product  activities  used 
extensively  in  motion  picture  studios, 
laboratories,  and  theatres  and  by  the 
photographic  industry. 

American   "Know-How" 

Is  it  any  wonder  then,  that  the  mo- 
tion picture  public  today  looks  to  the 
American  "know-how"  of  American 
motion  picture  product  manufacturers 
to  supply  the  best  possible  technical 
results  in  their  screen  attractions.  As 
Bill  Cosby,  our  co-host  stated:  "Ever 
since  the  motion  picture  industry's 
inception.  National  Carbon  has  been 
a  leading  supplier  of  arc  carbons, 
and  through  the  years  it  has  played 
a  major  role  in  the  advancement  of 


National   Carbon   Co. 

Production   Personnel 

C.     E.     Stollenmeyer,     District    Works    Manager 
J.     G.     Kemp,     Head,     Product    and     Processes 

Control  Laboratory 
M.    J.    Scharf,    Assistant    Head,    P    and    P    Con- 
trol Laboratory 
R.  F.   Burden,  Group  Head,  Control  Engineering 
L.   E.   Wentzke,   Assistant  Plant   Manager,  Pro- 
duction 

Development'  Personnel 

Dr.    W.    J.    Spry,    Development    Manager,    Fos- 
toria   Laboratory 

E.    L.    Piper,    Division    Manager    for    Product 
Development 

W.    R.    Lauzau,    Development    Leader 

Research  Personnel 

J.   C.    Bowman,    Director    of    Research 
Dr.    W.    W.    Lozier    Assistant    to    the    Director 
of    Research 


International    Projectionist        August,    7963 


" 


quality  motion  picture  projection." 

Of  all  the  products  used  in  the  op- 
eration of  a  motion  picture  theatre, 
projection  carbons  are  perhaps  the 
most  complex  and  least  understood 
b\  the  average  exhibitor.  In  fact  he 
often  is  reluctant  to  spend  a  feu 
more  cents  for  quality  when  it  could 
mean  the  difference  in  a  "perfect  pic- 
ture on  the  screen"  and  one  that  just 
misses. 

Many  times  the  proper  size  trim, 
along  with  the  correct  projection 
equipment  can  spell  the  difference 
between  a  successful  theatre  opera- 
tion and  one  which  is  never  profit- 
able. After  all.  good  carbons  cost  very 
little  more  than  paper  towels,  and 
while  both  are  necessary  to  theatre 
maintenance,  you  can  never  project 
a  picture  with  paper  towels.  No  mat- 
ter how  much  a  picture  has  cost  to 
produce  nor  how  perfect  its  photo- 
graphic technique  it  must  always  be 
projected  through  an  amperture  that 
needs  the  finest  steady  screen  illumi- 
nation to  reproduce  all  that  went  into 
the  production.  And  with  more  color 
being  utilized  toda\  we  need  to  pro- 
ject more  light  on  a  larger  screen. 

Only  the  best  will  create  the  desire 
of  people  to  go  back  into  any  mo- 
tion picture  theatre.  Think,  more 
about  this.  Mr.  Theatre- owner,  and 
then  listen  a  bit  more  to  the  expert 
advice  of  your  projectionist  when 
he  suggests  what  to  do  "up  in  your 
booth.""  I  wish  you  could  have  been 
with  me  on  this  tour  for  you  would 
have  been  convinced  that  it  pavs 
to  put  "a  better  lighted  picture"  on 
vour  screen. 

Inspection    Tour    Pictured 

Elsewhere  in  this  issue  we  report 
the  inspection  tour  with  photographs 
and  the  storv  of  how  carbons  are 
made.  A  list  of  those  who  are  in 
charge  of  the  National  Carbon  devel- 


opments and  research  and  their  tech- 
nical backgrounds  is  being  printed 
w  ith  this  report. 

Any  authorized  theatre  equipment 
supplier  with  whom  you  deal  on  pro- 
jection carbons  can  contact  the  Na- 
tional Carbon  Company  sales  engi- 
neer in  vour  area  whenever  a  screen 
illumination  problem  arises  in  your 
theatre.  The  man  with  the  modern 
test  devices  kit  is  always  ready  and 
willing  to  be  of  service  to  vou.        iP 

Use  of  8mm  Sound 
On  Upswing,  Film 
Group  Reports 

Use  of  small  forma!  (8mm)  sound 
motion  pictures  by  business,  industry 
a  nd  t'd  unit  ion  appears  to  be  on  the 
upsurge. 

A  committee  of  24  engineers  and 
management  personnel  representing: 
'notion  picture  equipment  manufac- 
turers and  users  observed  that  in 
many  quarters  there  is  a  substantial 
commitment  to  the  present  8mm 
sound  format.  This  commitment  Kill 
probably  continue  and  grow  in  the 
\tiirs  ahead  to  meet  many  customer 
needs. 

"Th<'  committee  discussed  the 
background  from  which  its  work  is 
to  be  done,  and  we  agreed  that  the 
work  must  stem  from  the  present 
standardized  8mm  system  with  mag- 
netic sound  record.  Important  com- 
mitments have  been  made  to  this  sys- 
icm  and  undoubtedly  will  continue 
to  be  made  in  the  years  ahead.  It 
is  serving  many  customer  needs  to- 
day, and  the  committee  believes  that 
it  uill  continue  to  serve  such  needs 
in  the  years  ahead."  Prof.  Louis 
I  orsdale.  chairman  of  the  SMPTE 
engineering    committee,   reported. 

(Please  turn   to  page  18) 


n 


WHY  WASTE  CARBONS? 

Use  The  "Master  Saver  Device 

Reduce  your  projection  carbon  cost  by  adopting  the  MASTER 
CARBON  SAVER  (designed  by  a  pioneer  IATSE  projectionist.) 
The  only  simple  and  accurate  saver  on  the  market  with  no 
springs,  screws,  nuts  and  bolts  and  requires  no  carbon  grind- 
ing. Each  carbon  held  by  "Precision  Taper"  after  stub  is  easily 
tapped  into  saver.  There  is  a  "MASTER"  saver  for  every  type  of 
Suprex  non-rotating  or  rotating  arc  lamp.  Now  being  used  by 
hundreds  of  theatres  on  STRONG.  ASHCRAFT.  PEERLESS,  etc.; 
sizes  6-7-8-9-10-llmm.  S3. 50  each:    13.6mm.  84.50  each. 

SOLD   BY   YOUR   LOCAL   SUPPLY   DEALER 

Manufactured    by 

MASTER  SPECIALTY   PRODUCTS 

200   Wesr   72nd   St.,    New   York   23,   N.   Y. 


Specialists  in  Light  Projection 

CARBONS,  inc. 

through 
division 

PRESENT  THEIR  NEW 


employing  the  compact  Xenon  Arc! 

featuring 

^/jtmON       LAMPHOUSES 

by    Cinemeccanica    of    Milan,    Italy, 
leading  motion  picture  equipment  mfgrs. 

y^tinOfS       POWER   SUPPLIES 

by    Christie     Electric     Corp.,     makers     of 
the    finest    power    supply    units. 


XeTRON   900/1600/ 
2500  Lamphouse 
complete  with  .  . 
associated  optics, 
heat  transmitting, 
hard  front-coated 
16"  reflector,  auxiliary 
mirrors  and  starting 
devices. 


XETRON    lamphouse    with 

450    watt   bulb.    Equipped 

with  5"  reflector  and 

diffuser.   Replaces  750- 

1,000  watt  incandescent 

lamps  and  provides  three 

times  the  light  flow  with 

Kevin  temperature, 

similar  to  hi  intensity 

carbon  arc. 


XeTRON   Silicon  Power 
Supply   by  Christie 
Electric  Corp. 
Full  Warranty  for 
Xenon  compact  arc 
bulbs  10B  expected 
from  Xetron  Power 
Supplies  by  Christie 
Electric   Corp. 


International  Projectionist        August,  1963 


Literature  on  Request 
Franchise  Dealerships  Available 

division  of  CARBONS,    Inc.  Boonton,  N.J. 

15 


European  movie  goers  are  being 
treated  to  a  new  "avant-garde"  mo- 
tion picture  technique  in  which  live 
actors  play  their  roles  side-by-side 
with  their  own  or  other  actors'  filmed 
images.  It's  of  interest  to  the  IA  and 
projectionists  generally  because  it 
shows  how  far  their  craft  might  pro- 
gress in  the  years  to  come. 


Fred  Warendorp,  projectionist,  is  shown  with  the  two  Strong  Constellation  projec- 
tion arc  lamps  and  two  Strong  Trouper  carbon  arc  follow  spotlights  installed 
in  the  new  Mai  Kai  ("The  World's  Most  Beautiful  Theatre  in  Livonia")  which 
opened  recently  in  the  Detroit  suburb  at  Plymouth  and  Farmington  Roads.  Stage 
attractions  and  orchestra,  as  well  as  the  screen-fare,  were  featured  in  advertising, 
as  was  the  "giant  screen"  and  direct  radio  broadcasts.  Literature  on  this  type  of 
equipment  will  be  sent  to  any  reader  addressing  The  Strong  Electric  Corp.,  31 
City  Park  Ave.,  Toledo  1,  Ohio. 

New  Motion  Picture  Technique  May  Bring 
Complex  Developments  for  Projectionists 

Frantisek  Pilat.  Czechoslovak  Film 
Corp.,  Praha,  Czechoslovakia,  has  de- 
scribed "Magic  Lantern"  ("Laterna 
Magica" ) ,  a  new  art  entertainment 
form  in  which,  for  example,  a  living 
ballet  dancer  might  dance  with  a 
film  partner.  According  to  Pilat,  the 
actor's  action  is  "inseparably  com- 
bined with  the  motion  picture,"  giv- 
ing the  impression  that  both  are  live 
performers. 

Pilat  also  described  "Poiyecran," 
another  new  art  form,  which  involves 
simultaneous  exposure  to  the  viewer 
of  eight  screens,  each  carrying  a  dif- 
ferent image  tied  in  with  the  central 
theme  of  the  artistic  presentation. 

According  to  Pilat,  "The  new  tech- 
nology of  wide-angle  and  panoramic 
motion  pictures  renders  it  impossible 
for  the  artists  to  use  a  quick  compo- 
sition of  shots,  large  close-ups  or 
rapid  panning  movements  of  the 
camera,  ie,  to  take  advantage  of  the 
principal  and  specific  means  of  mo- 
tion picture  art.  Experience  has 
shown,  that  the  more  the  spectator  is 
surrounded  by  the  projection  screen, 
the  narrower  is  the  choice  of  drama- 
tic material,  which  can  be  reproduced 
with  the  aid  of  these  new  technical 
devices. 


ASHCRAFT 

CORE-LIGHT 

SUPER  CINEX 

CINEX  SPECIAL 

PROJECTION  LAMPS 

And 

HIGH  RECTANCE 

MULTI-PHASE 

RECTIFIERS 

World's  Standard  of 
Projection  Excellence 


"In  order  to  eliminate  these  dis- 
advantages of  wide-angle  motion  pic- 
tures, extensive  experiments  have  been 
carried  out  by  artists  and  technicians 
in  Czechoslovakia  in  an  effort  to  cre- 
ate a  new  type  of  film  show  by  means 
of  a  simultaneous  projection  system 
employing  projection  screens,  which, 
though  variously  arranged  in  space, 
are  in  direct  connection  with  one 
another. 

"The  screens  are  of  different  size 
and  differently  inclined  towards  one 
another.  On  to  those  screens  the  pic- 
ture from  the  film  projectors  or  slide 
projectors  is  projected.  The  picture  is 
accompanied  by  sound,  which  is  re- 
produced over  loudspeakers  placed 
behind  the  various  screens  and  also 
over  loudspeakers  suitably  accommo- 
dated in  the  auditorium.  The  project- 
ed picture,  which  completely  fills  the 
spectator's  field  of  view,  creates  inter- 
related impressions  and  their  synthe- 
sis produces  in  the  spectator's  brain 
a  unified  image. 

"To  suit  the  action  shown,  one 
screen  only  is  sometimes  projected 
upon,  the  action  spreading  later  grad- 
ually to  further  screens.  At  other  oc- 
casions identical  pictures  are  shown 
on  several  screens;  sometimes  the 
overall  picture  is  on  the  main  screen 
and  the  closeups  on  the  flanking 
screens;  black-and-white  film  is  com- 
bined with  colored  film,  static  pro- 
jection with  film  projection,  etc. 

"Numerous  shows  produced  for 
'Poiyecran'  have  proved  that  it  is  an 
unusually  adaptable  means  of  expres- 
sion for  a  new  form  of  motion  pic- 
ture art.  It  has  also  been  proved  that 
the  spectators,  who  number  more  than 
two  million  so  far,  have  no  difficul- 
ties in  grasping  the  artist's  aims  and 
the  structure  of  the  action  or  story, 
even  if  it  proceeds  on  a  plurality  of 
screens  simultaneously."  if? 


PROJECTIONISTS 
PREFER 

ETHYLOID 

Film  Cement-  For 
BEST  RESULTS 

Available  from 
Supply  dealers 

FISHER  MFG.  CO. 

1185  Mr.   Read  Blvd. 
Rochester,  N.Y. 


16 


International    Projectionist        August,    1963 


New  Screen  Design  Developments 
Allow  Brighter,  Cleaner  Projection 


Motion  picture  screens  are  better 
tiuia\  than  e\er  before  in  the  history 
of  the  theatre.  Not  onI\  has  the  re- 
Hecting  surface  been  made  brighter 
but  with  an  increase  in  gain  it  has 
been  possible  to  greatl)  improve  side 
viewing  conditions.  Pearlescent  pig- 
ments are  responsible  for  increased 
efficiency.  These  pigments  have  been 
a\ailable  in  artificial  form  for  main. 
many  \ears  and  now  there  is  avail- 
able to  manufacturers  a  natural  pearl 
essence  of  unusual]]  high  purity.  The 
lustre  of  this  natural  pearl  surface 
not  only  increases  initial  brightness 
gained  but  the  optical  performance  at 
wide  viewing  angles  is  of  a  high 
standard.  The  unique  orientation  of 
the  pigments  in  the  plastic  mix  ac- 
( omits   for  this. 

Also  available  on  the  market  today 
is  a  surface  that  has  anti-static  quali- 
ties and  which  is  claimed  to  repel  the 
attraction  of  dust.  The  industry  has 
recognized  the  dust  problem  for  a 
long  time.  Even  with  the  protection 
of  a  screen  curtain,  the  picture  image 
is  nevertheless  exposed  all  during  op- 
erating hours  to  a  large  volume  of  air 
in  motion.  Dust-laden  atmosphere  ac- 
counts for  an  a\erage  light  loss  of  10 
to  15  percent  each  year.  This,  togeth- 
er with  normal  oxidation,  accounts 
fur  regular  deterioration  of  the  re- 
flecting  surface.  Now.  for  the  first 
time,  the  dust  problem  can  be  mater- 
ially reduced  and  the  efficiency  of  the 
reflecting  surface  maintained  for  a 
longer  time. 

Screen    Brighreners 

Projectionists  everywhere  have  read 
with  great  interest  the  report  of  the 
Motion  Picture  Research  Council  on 
the  problems  of  screen  brightness  in 
outdoor  theatres.  The  fact  that  their 
investigation  showed  some  57' .  of  all 
drive-in  theatres  surveyed  had  center 
screen  brightness  levels  under  three 
foot  lamberts  comes  as  no  surprise. 
Indoor  standards  are  9  to  14  foot 
lamberts  of  reflected  light,  leaving 
most  drive-in  screens  far  short  of 
what  is  considered  a  satisfactory  level. 

There  are.  however,  one  or  two 
compensating  factors  which  must  be 
taken  into  consideration.  Firstlv.  vis- 
ual acuity,  which  in  simple  terms  is 


the  ability  of  the  human  eye  to  per- 
ceive detail,  increases  as  the  size  of 
the  picture  image  increases.  There- 
fore, the  very  large  size  of  modern 
drive-ins  is  in  itself  a  great  help  to 
the  eye  even  though  light  is  lacking. 
W  hat  is  known  as  a  satisfactory  pic- 
ture is  the  result — satisfactory  in  the 
sense  that  the  public  accepts  the  pre- 
sentation without  complaint.  This 
should  not  deter  any  one  from  tr\  ing 
to  improve  a  situation  that  definitely 
needs    improvement. 

Secondly,  the  usual  combination  of 
arc  light  and  a  reflecting  surface  that 
creates  light  that  is  predominantly  in 
the  yellow-while  part  of  the  spectrum 
enables  the  human  eye  to  respond 
well.  Hard)  and  Perrin  in  their 
"  Principles  of  Optics"  show  that  the 
response  curve  of  the  eye  is  greatest 
<n  that  portion  of  the  spectrum  be- 
tween green  and  yellow.  This  means 
that  the  threshold  of  \  ision  is  greater 
in  this  area  than  it  is  say,  for  blue  or 
red.  It  should  be  clear  at  this  point 
that  a  properl)  designed  reflecting 
surface  i>  <>l  tin-  greatest  impor- 
tance. Fortunately,  a  pure  while  sur- 
face is  perfect  although  it-  brightness 
gain  leaves  a  lot  to  he  desired.  How- 
ever, combining  available  reflecting 
surface  with  modern  light  sources 
permits  the  average  drive-in  in  gel 
li\.  This  is  real!)  not  enough.  Effort 
is  constantly  being  expended  by 
man)  in  the  industry  to  improve  the 
situation. 

So  far.  reflecting  surfaces  of  high- 
er gain  have  made  some  progress  but 
the  problem  requires  a  substantial 
expenditure  of  monev .  New  surfaces 
have  been  plannd  but  man)  cannot 
lick  the  problem  of  weathering,  nor- 
mal expansion  and  contraction  and 
screen  surfacings  that  are  not  uni- 
formly applied  and  in  perfect  align- 
ment, panel  to  panel,  from  side  to 
side  and  from  top  to  bottom.  Apply- 
ing higher  gain  panels  on  top  of 
existing  surfaces  will,  in  most  cases, 
make  the  new  panels  appear  like  a 
mosaic,  simply  because  they  cannot 
be  perfectly  aligned. 

The  most  commonly  used  surface 
application  is  still  white  projection 
paint  because  of  its  comparative  ease 


BRIGHTER  LIGHT 
LONGER   BURNING 
SHARPER   PICTURE 
Free  Test  Samples 


IH¥*WV 


TT?r>'iTim 


of  application  and  its  reasonable  cost. 
It  can  also  be  removed  without  too 
much  difficulty  when  complete  re- 
treatment  is  necessary.  Until  some- 
thing practical  comes  along  the  drive- 
in  exhibitor  should  look  to  the  fol- 
lowing: An  adequate  light  source.  An 
efficient  optical  system.  Proper  selec- 
tion of  apeiture  size.  A  clean  and 
well  maintained  screen  surface. 
Equipment  to  do  a  good  job  is  read- 
ily available  and  supply  dealers  are 
prepared  to  improve  conditions  with 
the  exhibitors   desire  to  do  so.     iP 


America's 
headquarters 

lor  all 
theatre  equipment 


supplies 


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THEATRE  SUPPLY  COMPANY 


MODERNIZE 
POWER   UNITS 

No  burned  contacts,  cooler 
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with  BE  silicon  rectifiers.  A 
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STEADIER  LIGHT 
LESS  ATTENTION 
PERFECT  COLOR  BALANCE 
Free  Carbon  Chart 


International  Projectionist        August,  1963 


17 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport.  Pa. 


Norelco 

projection 
equipment 

Available    from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment    Division 
100    E.  42nd   St.,    New   York    17,   N.Y. 


8mm  Sound 

Other  evidence  was  offered  at  the 
convention  in  support  of  the  present 
format,  which  is  basically  the  same 
as  the  long-time  accepted  configura- 
tions for  amateur  8mm  film.  These 
findings  include: 

1.  SMPTE  revealed  that  the  Amer- 
ican Standards  Assn.  has  ac- 
cepted and  will  sponsor  a 
society-written  standard  for  8- 
mm  sound  film  based  upon  the 
present  widely  accepted  config- 
urations. 

2.  A  spokesman  for  the  Fairchild 
Camera  and  Instrument  Corp., 
one  of  the  major  domestic  man- 
ufacturers of  8mm  sound  pro- 
jectors, estimated  that  there  are 
perhaps  as  many  as  10,000 
8mm  sound  projectors  now  in 
use. 

3.  Eyre  Branch,  of  Noel  Enterpris- 
es, Hartsdale,  N.  Y .,  reported 
in  the  findings  of  a  survey  he 
conducted  for  the  society  that 
there  are  presently  13  process- 
ing laboratories  and  10  motion 
picture  distributors  in  this  coun- 
try handling  8mm  sound.  One 
of  these,  the  George  Colburn 
Laboratory,  Chicago,  was  re- 
ported to  have  nearly  60  clients 
using  8mm  sound  film.  Colburn 
has  processed  and  printed  near- 
ly 300  subjects  for  8mm  sound 
release.    Typically,    these    films 


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4207    Lawnview   Ave.,    Dallas   27,   Texas 
Phone    EV   8-1550 


Post   paid   when   check   is   sent   with   order. 


INTERNATIONAL  PROJECTIONIST 

Post   Office    Box    6174 
Minneapolis  24,   Minnesota 

□  1    year     (12)   issues — $3.00 

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from  page  15 

run  from  10  to  15  minutes. 
Print  orders  have  varied,  with 
the  smallest  order  for  a  single 
print  and  the  largest  for  1,266. 
Subject  matter  has  similarly 
been  varied,  ranging  from  "how 
to  bowl  better"  to  "why  to  buy 
our  bulldozer." 

4.  Several  exhibits  set  up  by  man- 
ufacturers of  lightweight,  rear 
screen  8mm  sound  projectors 
demonstrated  a  wide  variety  of 
films,  ranging  from  selling 
computers  to  training  new  car 
dealers  in  sales  techniques. 
These  exhibits  drew  wide  atten- 
tion and  favorable  comment. 

5.  Much  of  the  conversation  about 
8  mm  sound  film  centered 
around  its  extremely  successful 
utilization  by  the  Do-All  Co. 
and  the  Ford  Motor  Co.  Do- All 
a  manufacturer  of  industrial 
machine  tools,  has  more  than 
100  8mm  sound  projectors  in 
the  field  with  its  sales  repre- 
sentatives. The  company  has  a 
special  carrying  case  for  the 
projector  and  the  23  product 
films  they  have  produced.  Sales- 
men can  carry  these  dramatic 
illustrations  of  all  their  prod- 
ucts on  every  call.  Furthermore, 
films  can  be  projected  in  nor- 
mal room  light  on  a  screen  set 
up    right   on   the   buyer's   desk. 

Ford   has   set   up    1,000    rear 
screen    8mm    sound    projectors 
in  dealer  showrooms  across  the 
country.     They    supply    dealers 
with    periodic    motion    pictures 
of   then    new   lines   of   automo- 
biles.    These    films     are    often 
used   in    sales   training   as    well 
as  in  direct  sales. 
The  many  technical  sessions  dedi- 
cated to  discussions  of  small  format 
films  drew  probably  the  largest  and 
most    vocal    response    from    SMPTE 
convention  delegates.  iP 

MONTHLY  CHAT 

(Continued  from  Page  3) 

out  to  be  a  "must  see  picture,  where 
the  exhibitor  can  advertise  he's  "got 
it." 

It  takes  a  lot  more  to  make  theatre 
a  profitable  enterprise.  Waiting  for 
the  "must  see"  picture  the  theatre 
owner  could  go  broke. 

So  we  suggest  what  we  said  be- 
fore in  this  Monthly  Chat.  Give  the 
projectionist  crew  the  working  tools 
to  give  high  standard  screen  presen- 
tations and  give  a  try  to  Booth  Show- 
manship of  which  your  craftsmen  are 
willing  and  able  to  give.  iP 


18 


International    Projectionist        August,    1963 


» AUTHORITATIVE 
» COMPREHENSIVE 


» 


PRACTICAL 


Acclaimed  by  leading  technicians  in 
the  industry  as  the  most  comprehen- 
sive and  down-to-earth  handbook  pub- 
lished to  date  on  the  subject  of  motion 
picture  projection.  Ideally  suited  for 
study  and  reference  by  your  opera- 
tors. 


ROBERT  A.  MITCHELL'S 


MANUAL  OF  PRACTICAL  PROJECTION 


HANDY    51/2"     x    81  2"     SIZE    —    450     PAGES     —     ILLUSTRATED     —     CROSS      INDEXED      FOR      EASY      REFERENCE 


*  Here  is  one  of  the  most  help- 
ful works  ever  published  for 
the  motion  picture  projection- 
ist. A  handsomely  bound  and 
profusely  illustrated  compila- 
tion of  the  BEST  of  the  Robert 
A.  Mitchell  articles  that  have 
appeared  in  "International 
Projectionis  t,"  revised, 
brought  up  to  date. 


*  The  author  covers  clearly 
and  thoroughly  every  aspect  of 
motion  picture  projection,  pre- 
senting his  material  in  easily 
understood  language — not  too 
technical,  yet  technically  ac- 
curate. The  Manual  is  divided 
in  8  sections  and  contains  30 
chapters  —  a  valuable  refer- 
ence work  no  progressive  pro- 
jectionist should  be  without. 


! 


SECTION      HEADINGS 


(1)  Film;  (2)  The  Projector:  (3)  Projection -Optics,  Screens;  (4)  The  Arc  Lamp; 
(5)  General  Projection  Practice;  (6)  Motors,  Generators,  and  Rectifiers;  (7) 
Sound    Reproduction    Systems;    (8)    Projection    of   Color   and   3-D    Films,    Formulas. 


ORDER  YOUR  COPY  TODAY  *  USE  THIS  HANDY  FORM 


INTERNATIONAL   PROJECTIONIST 
Post   Office    Box    6)74 
Minneapolis   24,    Minnesota 

Gentlemen:    please   send   me   copy   (copies)   of    ROBERT   A.   MITCHELL'S   MANUAL   OF 

PRACTICAL    PROJECTION.    Enclosed    is    my    check    (or    money-order)    for    $ 

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^USSCREEN  YOURS 


Only  1  in  20  Drive-Ins,  {perhaps  your  competitor)  has  even  the  minimum 
screen  illumination  (4.5  foot  lamberts  at  the  center  of  the  screen  with  a  stand- 
ard width  aperture  and  the  shutter  running,  measured  from  a  midpoint  on 
the  ramp  center  line),  recommended  by  The  Society  of  Motion  Picture  &.  Tele- 
vision Engineers. 

Which  of  these  projection  lamps  will  properly  illuminate  YOUR  screen? 


Here's  a  guide: 
PICTURE  WIDTH 

50  FOOT 

60  FOOT 

70  FOOT 


PROJECTION  ARC 


J.4"  REFLECTOR— G5  AMPERES. 


80  FOOT. 
90  FOOT. 


.18"  REFLECTOR— 11  IVIM  LOW  CURRENT  RANGE. 

.18"  REFLECTOR— 11  MM  HI  CURRENT  RANGE  OR 
13.6  MM  LOW  CURRENT  RANGE. 

.18''  REFLECTOR— 13.6  MM   HI    CURRENT  RANGE. 

.21"  REFLECTOR— BLOWN  ARC  LOW  RANGE. 


100  FOOT  AND  UP. 


.21"  REFLECTOR— BLOWN  ARC  HI   RANGE. 


IF   YOU'RE  FED  UP  — 

with  a  dismal  boxoffice,  brighten  it  up  by  brightening  up  your  screen.  The 
theatres  with  inadequate  screen  lighting  are  the  theatres  with  the  anemic 
boxoffices. 

Strong's  complete  line  of  lamps,  includes  one  which  will  project  the  brighter, 
patron-pleasing  pictures  in  your  theatre.  Discuss  your  needs  with  your  equip- 
ment dealer  now. 


FOR  LITERATURE  WRITE— 


THE 


ELECTRIC  CORPORATION 


31   CITY  PARK  AVENUE 


TOLEDO  1,  OHIO 


A  SUBSIDIARY  OF  GENERAL  PRECISION  EQUIPMENT  CORPORATION 


NEW  PROJECTOR 
DEVELOPMENTS 


The  Drive-In 

Theatre 

Revolution 


& 


to 

G 

*-.  c 

I0  3 


An  example  of  the  increased  use  of  Xenon  projection  lamps  by  insti- 
tutions of  learning  is  that  of  the  recent  installation  of  a  Strong  1 600-watt 
lamp  in  Spaulding  Auditorium  of  the  new  Hopkins  Center,  Dartmouth  Col- 
lege, Hanover,  N.  H.,  where  it  is  used  on  a  Hortson  projector.  Shown  with 
the  Hortson  16mm  projector,  which  has  5000-foot  reels  and  magazines,  is 
Paul  Layton.  Also  shown  in  the  booth  are  two  35mm  projectors  with  carbon 
arc  lamps.        * 


SEPTEMBER 
VOLUME  38 

40c  A  COPY 


1963 
NUMBER  9 

$3.00  A  YEAR 


Volume  38 


INTERNATIONAL   PROJECTIONIST 


September,  1963 


GLAMOURIZING  THE  SCREEN 


PART  1 


ies  Plus  Glamour  Equals  Good  Business! 


By  ROBERT  A.  MITCHELL 


There  is  more  to  a  theatre  screen  than  its  obvious  phys- 
ical function  of  reflecting  the  projected  picture  to  the 
eyes  of  the  audience!  The  side  of  a  white  barn  would  be 
adequate  for  the  projection  of  pictures  if  flat,  bright,  and 
free  from  blemish :  indeed,  it  might  well  be  a  better  screen 
and  give  a  better-looking  picture  than  is  possible  with  the 
yellowed,  seam-streaked,  vandal-dented  curved  aluminum 
screens  still  retained  in  the  Opera  Houses  and  Bijous  of 
a  few  back-woods  towns!  It  goes  without  saying  that  a 
motion-picture  screen  should  be  physically  satisfactory. 
But  to  be  "good  theatre"  it  must  be  more  than  just  flat, 
bright,  and  unsoiled. 


Two  aspect  ratios  only  are  needed  today  for  35-mm 
and  70-mm  film  presentations.  These  are  2.35/1  or  (2/1) 
for  CinemaScope  and  70-mm,  and  1.75/1  for  standard 
non-anamorphic  35-mm  prints.  The  advantages  of  the 
1.75/1  aspect  ration  for  regular  prints  are  now  so  well 
established  that  there  is  no  need  to  consider  using  any 
other. 


The  screen  of  an  indoor  theatre,  unlike  the  side  of 
a  white  barn  or  a  drive-in  screen,  should  have  a  distinctly 
theatrical  setting  in  the  midst  of  glamorous  and  color- 
fully beautiful  stage  appointments.  Why?  Beauty  stimu- 
lates the  imagination,  and  thus  enhances  the  dramatic 
effect  of  the  motion-picture  attractions,  which  have  also 
been  created  to  stimulate  the  imagination.  The  moviegoer 
must  be  made  to  feel  that  the  screen  is  not  merely  a  white 
surface  upon  which  patterns  of  light  are  thrown,  but  a 
sort  of  "window"  through  which  a  fascinating  world  of 
make-believe  is  seen  and  experienced.  But  first  a  few 
basic  technical  details  which  must  be  kept  in  mind. 

It  is  now  generally  agreed  that  good  projection  re- 
sults are  obtainable  only  when  the  screen  is  matte  white 
or  pearl-coated  (aluminum  surfaces  only  for  unusually 
Ions;,  narrow  auditoriums ) .  and  is  stretched  perfectly  flat 
without  curvature  in  any  direction. 

Cinerama  and  other  special  processes  specifically  de- 
signed for  a  substantial  amount  of  screen  curvature  are 
accepted,  of  course :  but  the  picture  -  distorting  curved 
screen,  ill-advisedly  forced  upon  exhibitors  when  the  ana- 
morphic  widescreen  process  was  introduced,  is  definitely 
tabu  in  theatres  showing  regular  film  releases,  standard 
or  anamorphic,  35-mm  or  70-mm.  Curved  screens  have 
no  effect  whatever  upon  "depth  perception."  and  actually 
do  nothing  except  spoil  the  appearance  of  the  picture. 

Two   Aspect   Ratios   Only 

The  "battle  of  the  aspect  ratios"  which  began  in  full 
fury  with  the  inception  of  panoramic  movies  in  1953  has 
now  all  but  abated.  The  old  4:3-proportioned  screen  (an 
aperture-plate  aspect  ratio  of  1.375/1)  is  practically  out 
of  the  running  for  theatre  use.  Television  uses  it.  and  is 
welcome  to  it !  It  is  too  nearly  square  in  shape  for  theatre 

International  Projectionist        September,  1963 


Chicago  is  famous  for  its  beautiful  theatres,  among 
irhich  are  the  Avalon,  Chicago,  and  Capitol.  Here  is  the 
truly  gorgeous  auditorium  of  the  Capitol  photographed 
in  the  days  of  the  old  conventional  1 .375/]   ratio. 


lovies,  ami  i>  distinct!)  unsatisfactor)  to  patrons  who 
ave  become  accustomed  to  a  more  panoramic  vista  on 
he  giant  theatre  Bcreen. 

I  he  standard  non-anamorphic  ISS-nim  print  gives  the 
dosI  pleasing  picture  at  an  aspect  ratio  of  1.75  1.  using 
m  aperture  which  measures  0.825  \  0.171  inch.  This 
>pinion  is  strong!)  backed  l>\  the  thousands  of  projec- 
ionists  who  arc  alread)  using  the  1.75  1  ratio,  and  b) 
lozens  of  producers  who  advocate  it >  use  for  their  m>n- 
inamorphic  35-mm  relea>es.  K\en  th<'  older  pictures,  ic- 
eleased  from  time  to  time,  look  better  with  tin-  aspect 
atio! 

The  1.75  1  aspect  ratio  is  wide  enough  to  impart  a 
panoramic  visual  impression,  and  yet  sufficientl)  "con- 
lervative"  to  preserve  good  photographic  acutance  with- 
out excessive  graininess.  undue  magnification  of  picture 
unsteadiness,  loss  of  light,  or  loss  of  contrast.  The  higher 
aspect  ratios  formerly  used  in  man)  theatres  for  standard 
jrints — ratios  as  high  as  1.85  1  and  even  2/1 — are  going 
he  way  of  the  picture-ruining  curved  screen.  To  state 
he  matter  bluntly,  a  non  anamorphic  35-mm  picture 
ooks  like  hell  at  2  1 ! 

Even  CinemaScope.  itself,  has  undergone  a  reduction 
in  aspect  ratio.  Originally  2.55  1.  the  addition  of  an  op- 
tical soundtrack  to  the  magnetic-track  C  Scope  print  has 
reduced  the  ratio  to  2.35  1.  But  even  this  is  pretty  big. 
and  just  about  right  for  Technicolor  epics  featuring  mobs 
of  sword-wielding  warriors  and  throngs  of  bosomy  danc- 
ing-girls undulating  in  clouds  of  pink  smoke. 

Some  theatres,  however,  are  physically  unable  to  ac- 
commodate the  full  CinemaScope  aspect  ratio  of  2.35/1. 
'The  lower  ratio  of  2  1  must  be  used.  This  is  not  too  bad: 
but  wherever  possible,  the  full  ratio  should  be  used  in 
order  to  reproduce  on  the  screen  the  visual  composition 
planned  by  the  director  and  captured  on  film  by  the 
cinematographer. 

Aim    for   a    Constant    Picture    Height! 

The  modern  indoor-theatre  screen,  then,  should  be 
flat,   white   or   pearl-surfaced,   free   from   visible   seams. 

International  Projectionist        September,  1963 


blemishes,  and  streaks  of  dirt,  and  capable  of  receiving 
two  projected  aspect  ratios,  nameh .  2..15  I  lor  2/1)  for 
CinemaScope  anamorphic  prints  and  1.75/1  for  standard 
non-anamorphic  prints.  No  other  ratios  should  be  used 
— these  two  are  best. 

II  70-mm  prints  are  also  shown,  the  CinemaScope  as- 
pect ratio  should  be  used  for  these,  the  70-mm  projector 
apertures  being  proportioned  accordingly  (that  is,  for 
either  2.35/1   or  2/1,  whichever  is   used   for  C'Scope). 

Now,  here  is  something  we  consider  very  important. 
The  proper  lens  focal  lengths  should  be  chosen  to  main- 
tain <i  constant  vertical  dimension  of  the  projected  pic- 
lures.  The  standard  1.75/1  non-anamorphic  picture  and 
the  CinemaScope  2.35/1  anamorphic  picture  should  both 
have  exactly  the  same  aperture  image  height  on  the  screen. 
The  overall  visual  effect  is  good  this  way,  and  the  need 
for  movable  top  and  bottom  masking  battens  is  thereby 
eliminated. 

With  a  CinemaScope  aspect  ratio  of  either  2.35/1  or 
2  1.  and  a  standard-film  aspect  ratio  of  1.75/1,  the 
C'Scope  prime  lens  should  have  a  focal  length  (E.F.) 
1.518  times  that  of  the  1.75/1  standard-print  lens,  or  as 
close  as  you  can  come  to  this  with  the  usual  ^-inch  lens 
E.  F.  increments.  Or,  to  state  the  matter  conversely,  the 
E.  F.  of  the  1.75/1  standard-print  lens  should  be  0.6587 
times  that  of  the  C'Scope  prime  lens — again,  as  close  as 
you  can  come. 

It  is  comforting  to  realize  that,  even  though  the  total 
screen  light  on  a  1.75/1-ratio  non-anamorphic  picture  is 
slightly  less  than  on  a  C'Scope  picture,  the  quality  of  the 
image  is  approximately  the  same — Sometimes  better  and 
sometimes  worse,  depending  upon  the  photographic 
sharpness  of  the  original  negatives,  the  quality  and  ad- 
justment of  the  anamorphic  lenses  used  for  C'Scope  pho- 
tography and  projection,  etc.  Indeed,  theatre  patrons 
often  have  to  look  at  the  extreme  sides  of  the  picture,  to 
see  how  far  out  they  extend,  to  be  able  to  distinguish 
standard  from  CinemaScope  projection.  And  most  patrons 
simply  have  no  interest  in  these  minor  technical  matters: 


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Silvered  reflectors  are  provide 
burning  under  95  amperes. 


Great  ideas  in  projection  lighting  in- 
variably originate  at  Strong  where  engi-  ] 
neering  and  craftsmanship  have  now 
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the  name— the  first  to  feature  every- 
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I 


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AUTOMATIC  CRATER  POSITIONER 

which  maintains  constant  a  white  screen  light  of 
3table  intensity  and  color,  evenly  distributed  over 
the  entire  screen  area.  -A.  single  adjustment  controls 
both  feeds  and  allo-ws  tailoring  of  the  burning  rate 
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is  without  question  the 
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viding powerful  screen 
illumination  with  utmost 
reliability.  The  standard 
1 1mm  carbon  is  burned 
efficiently  at  75-105 
amperes  for  both  35  and 
70mm  projection  to  re- 
sult in  the  greatest 
amount  of  light  ever 
delivered  per  carbon 
dollar. 


ELECTRIC  OOFLZPOFL^TTOISr 


OLED< 


Projection  Equipment 
At  Europe's  Photokina 


By  R.  Howard  Cricks, 
Hon.  FBKS,  FRPS 

Photokina.  Europe's  vast  photo- 
graphic exhibition  held  every  two  or 
three  years  at  Cologne,  Germany,  is 
primarily  devoted  to  photography 
and  amateur  cine.  But  there  is  quite 
a  lot  of  equipment  of  interest  to  the 
film  trade;  besides  odd  pieces  of 
equipment  in  the  general  sections, 
there  was  one  hall,  the  farthest  from 
the  entrance,  containing  only  profes- 
sional cine  equipment. 

If  one  is  to  go  by  the  projectors 
on  show,  the  plain  35mm  projector 
is  a  back  number.  Every  projector 
firm  showed  a  70/35mm  machine. 
Most  widely  used  in  Great  Britain 
is  the  Philips;  the  Cinemeccanica  is 
making  headway.  Enormous  ma- 
chines were  shown  by  Zeiss-Ikon. 
Siemens,  Bauer,  FEDI  and  Pio  Pion. 

These  machines  differ  chiefly  in 
the  difficulty  of  conversion  from  70- 
mm  to  35mm.  In  the  simplest,  all 
that  is  needed  is  to  change  the  gate 
runners,  but  most  need  also  a  change 
of  the  sprocket  rollers.  Some  have  a 


three-lens  turret,  for  wide-screen, 
CinemaScope  and  70mm  respectively. 

Most  projectionists  have  forgotten 
what  excellent  effects  we  used  to  get 
on  the  Brenograph.  A  simple  effects 
device  was  shown  by  Herceg  Skobla 
of  Vienna:  a  box  like  a  shutter  hous- 
ing, containing  sections  of  figured 
glass  rotated  by  a  small  motor,  and 
a  hand-operated  color  wheel. 

In  Europe — more  I  believe  than  in 
America  —  automation  and  remote 
control  are  coming  into  use  in  the 
cinema.  The  reason  is  simply  the 
shortage  of  skilled  projectionists. 

Pioneer  system  was  Projectomatic 
— ■  now  handled  by  Rank  Kalee;  in 
this,  by  inserting  pegs  into  a  rotat- 
ing drum  every  aspect  of  the  pro- 
gram can  be  controlled  completely 
automatically  —  opening  music, 
screen  curtains,  house  lights,  starting 
of  the  program,  change-overs,  right 
up  to  the  final  shut-down. 

An  alternative  I  personally  prefer 
is  remote  control.  From  a  console  in 
the  auditorium  the  projectionist  con- 
trols the  whole  of  his  equipment;  be- 


CAN  YOU  MATCH 
ONE  OF  THESE  3 


TO  YOUR  SCREEN? 


X-16  XENON  ARC 
PROJECTION  LAMPS 


900-watt  model  for  screens  up  to  23  feet  wide  (matte— Cinemascope  Aperture) 

or  28  feet  wide  (high  gain— Cinemascope  Aperture) 

1600-watt  model  for  screens  up  to  29  feet  wide  (matte— Cinemascope  Aperture) 

or  36  feet  wide  (high  gain— Cinemascope  Aperture) 

2500-watt  model  for  screens  up  to  35  feet  wide  (matte— Cinemascope  Aperture) 

or  43  feet  wide  (high  gain— Cinemascope  Aperture) 


•  Steady,  flickerless,  pure  white  light  is  independent 
of  voltage  variations  of  the  power  line  supply. 

•  Extremely  even  distribution  of  light  throughout  the 
total  screen  area. 

•  "Push-Button  repeatability"  of  intensity  and  color 
temperature. 

•  Excellent  color  film  reproduction. 

•  Focus  remains  constant. 


•  Projects  practically  no  heat  to  the  film  or  aperture 
plate.  No  cooling  required. 

•  Cleanliness  assures  maximum  life  for  the  projector. 

•  Simple  operation.  No  moving  parts  in  the  light 
source. 

•  Maintenance  and  current  costs  are  approximately 
the  same  as  for  carbon  and  current  costs  for  operat- 
ing a  carbon  arc  lamp  of  equivalent  light  output. 


THE 


Send  for  brochure.  Demonstration  in  your  theatre  on  request. 

ELECTRIC  CORPORATION 


31    CITY  PARK   AVENUE 


TOLEDO    1,   OHIO 


Philips  FP20S  projectors  as  installed 
in  the  ABC  Cinema,  Croydon,  Eng- 
land. Identical  in  appearance  are  the 
other  two  Philips  projectors  recently 
introduced  at  the  Photokina  exposition, 
FP22S  and  FP25S. 

ing  in  the  midst  of  his  audience,  he 
can  sense  their  reaction,  making,  I 
am  sure,  for  better  showmanship. 

Several  firms  showed  both  sys- 
tems: Philips,  Zeiss-Ikon,  Siemens, 
Bauer.  A  problem  with  such  a  sys- 
tem, however,  is  the  striking  and  con- 
trol of  the  arc.  Projectomatic  makes 
use  of  a  metal  pellet  which  is  grip- 
ped between  the  carbon  tips,  and 
fuses  when  current  is  applied,  strik- 
ing the  arc. 

An  alternative  answer  is  to  replace 
the  arc  by  a  light  source  needing  no 
adjustment  and  the  minimum  of  con- 
trol. Increasingly  used  in  the  xenon 
lamp,  which  Osram  and  Philips 
showed  in  a  range  of  sizes  up  to  2.5 
kw — this  is  large  enough  for  most 
cinemas,  I  have  my  own  preference 
for  the  Philips  pulsed  discharge 
lamp,  to  be  discussed  later. 

Projectors  are  used  nowadays  not 
only  in  cinemas,  but  for  television. 
Several  firms  showed  machines  adap- 
ted for  this  purpose.  Zeiss-Ikon,  for 
instance,  showed  the  Ernemann  ma- 
chines fitted  with  a  vidicon,  and 
geared  to  run  at  the  European  frame 
rate  of  25  frames  per  second.  (In 
America  one  doesn't  realize  how  sim- 
ple it  is  to  run  both  film  and  TV  at 
25  frames,  instead  of  having  to  con- 
vert a  film  frequency  of  24  frames 
to  a  TV  frequency  of  30).  For  stu- 
dio use  the  same  machine  was  shown 
fitted  with  a  300  ft.  non  -  rewind 
device. 

But  it  was  Philips  of  Holland 
(Norelco  to  you)  whose  exhibit  was 
the  most  advanced.  As  usual,  they 
had  a  complete  auditorium  in  which 
to  demonstrate  the  full  range  of  their 


10 


International  Projectionist        September,  1963 


The  Philips  Solo  projector,  demonstrated  for  the  first  time  at  Photokina. 
The  giant-size  reels  are  transported  on  the  dolly  at  the  right  On  the  left  is  the 
console  which  controls  the  complete  functioning  of  the  machine. 


cine  equipment.  Most  of  il  centered 
on  the  pulsed  discharge  lamp. 

This  tiny  lamp — the  size  and 
shape  of  a  clinical  thermometer  — 
in  its  original  form  consumes  800 
watts,  yet  produces  as  much  light  as 
a  2  k\\  arc.  It  flashes  3  times  per 
picture  frame,  instead  of  twice  like 
the  ordinary  shutter.  A  demonstra- 
tion showed  the  practical  value  of 
this.  Two  pictures  were  projected 
side  by  side,  lit  to  exactly  the  same 
measured  brightness  of  27  foot-lam- 
berts;  on  the  left  was  an  FP7  pro- 
jector with  arc.  on  the  right  the 
FP20S  with  pulsed  lamp.  At  this 
high  brightness  le\el  the  arc-lit  pic- 
ture showed  a  very  noticeable  flicker, 
which  was  completely  absent  from 
the  picture  lit  by  discharge  lamp. 

The  screen  illumination  from  the 
800-watt  lamp  is  500  lumens — low 
b]  I  .  S.  standards,  but  adequate  for 
most  of  our  theatres.  Now  introduced 
is  a  more  powerful  lamp  consuming 
1000  watts:  with  an  improved  mir- 
ror system  this  gives  a  screen  illumi- 
nation of  9000  lumens.  We  saw  a 
70mm  film  projected  on  a  40  ft. 
screen,  with  excellent  brightness.  On 
this  large  screen,  and  in  a  small  au- 
ditorium, the  evenness  of  illumina- 
tion from  centre  to  edges  was  most 
noticeable.  iP 


Three  New  Processes 
To  Be  Demonstrated 
For  Large  Screen 

Three  new  large-screen  color 
processes  are  due  for  demonstration 
soon:  National  Generals  Talaria. 
the  Todd  AO-Dimension  ISO  s\stem 
ami   color   Kidephor. 

Theatre  Network  Television  held 
a  demonstration  of  color  Kidephor. 
a  theatre  closed  circuit,  the  result  of 
years  of  development,  at  its  techni- 
cal center  at  Woodside.  L.  1.  The 
demonstration  was  sponsored  with 
TNT  l.\  CIBA  Ltd..  involved  in 
Eidephor.  and  Philips  of  the  Nether- 
lands, which  provides  optical  sys- 
tems. 

While  the  Eidephor  demonstration 
will  be  on  a  12xl6-ft.  screen,  a  TNT 
spokesman  said  the  process  is  in- 
tended for  large  screen  theatre  TV. 

Dimension  150  coupled  with  Todd 
AO  had  another  demonstration  for 
company  executives  in  Santa  Monica. 
Calif.,  and  an  exhibitor  demonstra- 
tion there  is  being  scheduled. 

The  General  Electric  Talaria  sys- 
tem, which  will  be  used  in  the  The- 
atre-Vision Color  closed  circuit  the- 
atre network,  is  planned  for  demon- 
stration shortly  on  the  West  Coast 
and  in  New  York.  iP 


ASHCRAFT 

CORE-LIGHT 

SUPER  CINEX 

CINEX  SPECIAL 

PROJECTION  LAMPS 

And 

HIGH  RECTANCE 

MULTI-PHASE 

RECTIFIERS 

World's  Standard  of 
Projection  Excellence 


PROJECTIONISTS 
PREFER 

ETHYLOID 

Film  Cement  For 
BEST  RESULTS 

Available  from 
Supply  dealers 

FISHER  MFG.  CO. 

1185  Mr.  Read  Blvd. 
Rochester,  N.Y. 


MODERNIZE 
POWER  UNITS 

No  burned  contacts,  cooler 
operation,  smoother  current 
with  BE  silicon  rectifiers.  A 
model  to  replace  any  bulb 
type. 

One   year  guarantee 

BROWN  ELECTRONICS 

1717   South   St.,   ALLENTOWN,   PA. 


CARBON  ARCS  FOR    THE  FINEST  PROJECTION  .   .   .  XENON  COMPACT  ARC 


JtowtaUte  Anc  Ga>ibo*U 

division 
Brighter  Light  on  Screen 

•  Longer  Burning  per  Carbon 

*  More   Economical   ...  / 


CARBONS.   INC. 


eJTRON 


division 


riMfi/s   LAMPHOUSES  •   Krimw   POWER  SUPPLIES 

by  Cinemeccanica  by  Christie 


BOONTON.    N.  J. 


International  Projectionist         September,  796.3 


II 


■khmmmbbmm 


■;  :tv5 


New  Strong  Lamp  said  to  be  First 

To  Fill  Needs  of  All 

Indoor  and  Drive-ln  Theatres 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING    DEVICES 

VALLEN,  Inc. ■  )■ 

AKRON  4,  OHIO 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment    Division 
100    E.  42nd   St.,    New  York    17,   N.Y. 


What  is  said  to  be  a  new  concept  in 
projection  lighting  equipment,  the 
first  projection  lamp  to  adequately 
fill  the  35mm  and  70mm  needs  of 
all  indoor  theatres  with  screens  up 
to  65  ft.  and  drive-ins  with  screens 
up  to  120  ft.  has  been  announced  by 
the  Strong  Electric  Corp.  Known  as 
the  Futura,  this  crisply  sleek  equip- 
ment is  not  only  beautiful  in  design 
but  encompasses,  Strong  officials  say, 
the  most  projection  lighting  develop- 
ments ever  assembled  within  one 
lamphouse. 

The  optical  system  of  this  power- 
ful direct  current  angle  trim  high 
intensity  arc  has  been  designed  to 
match  the  requirements  of  all  35mm 
and  70mm  projectors.  A  single  knob 
moves  the  entire  arc  burning  assem- 
bly in  relation  to  the  reflector  focal 
point  to  make  the  change  from  35  to 
70mm  or  70mm  to  35mm  projection. 

A  calibrated  scale  with  reference 
pointer  permits  precise  reset  of  burn- 
er focus  once  the  35mm  and  70mm 
positions  are  established.  This  sim- 
plicity is  exclusive  with  Strong. 

The  Futura  comes  in  three  ratings: 
Futura  I  for  economy  of  operation 
with  11mm  carbon  trim  burning  at 
75  to  105  amperes;  the  Futura  II 
with  automatic  crater  positioner  for 
13.6mm  carbon  trim  burning  at  120 
to  160  amperes;  and  the  Futura  II 
with  automatic  crater  positioner  for 
11mm  carbon  trim  burning  at  100 
to  125  amperes. 

Highly  efficient  utilization  of  the 
standard  economical  20-in.  length 
carbon  insures  more  light  per  carbon 
dollar,  and  permits  projection  of  an 
extra  reel  of  35  or  70mm  films  per 
length  of  carbon. 

A  big  18-in.  diameter  first  surface 
Tuf-Cold  reflector,  developed  by 
strong  and  bearing  a  two  year  slid- 
ing scale  guarantee  is  provided  for 
use  with  those  lamps  burning  at  95 
amperes  and  above.  Low  aperture 
temperature  assures  perfect  projec- 
tion without  the  film  damage  and 
buckling  which  results  in  in-and-out 
of  focus.  Silvered  reflectors  are  pro- 
vided with  those  lamps  burning  less 
than  95  amperes.  The  mirror  is  inte- 
gral with  the  rear  lamphouse  door 
and  swings  completely  out  of  the 
way  to  facilitate  retrimming,  clean- 
ing of  the  lamphouse,  and  mainten- 
ance of  the  reflector. 

A  constant  curtain  of  forced  cool 
air  flows  over  both  surfaces  of  the 


reflector.  This  results  in  a  uniform 
temperature  over  the  entire  reflector 
surface. 

The  self  -  contained  centrifugal 
blower  ventilating  system  cools  the 
carbon  feed  mechanism  and  lamp 
base.  A  jet  of  air  is  employed  to  sta- 
bilize the  arc. 

For  arc  currents  below  135  am- 
peres a  choice  is  offered  of  water 
cooled  silver  contacts  or  heavy  duty 
long  life  air  cooled  positive  carbon 
contacts.  For  currents  above  135  am- 
peres, water  cooled  contacts  are  pro- 
vided. 

The  Futura  has  a  new  type  arc  im- 
ager system,  redesigned  to  eliminate 
parallax,  and  relocated  for  the  full 
convenience  of  the  projectionist.  Oth- 
er features  include  a  streamlined  am- 
meter for  reading  the  current  at  the 
arc,  an  automatic  trimming  light  and 
inside  dowser  system.  Unit  construc- 
tion permits  instant  removal  of  the 
various  components  for  cleaning  and 
inspection. 

The  Futura  is  of  streamlined  de- 
sign with  a  silhouette  which  is  25% 
lower  than  other  lamps  of  the  same 
class,  permitting  ready  installation 
in  low-ceilinged  projection  rooms. 

The  Futura  I  is  without  question 
the  most  economical  projection  arc 
lamp  for  providing  powerful  screen 
illumination  with  utmost  reliability, 
the  manufacturer  states.  The  stan- 
dard 11mm  carbon  is  burned  effi- 
ciently at  75  -  105  amperes  for  both 
35  and  70mm  projection,  to  result  in 
the  greatest  amount  of  light  ever  de- 
livered per  carbon  dollar. 

The  Futura  II  is  equipped  with  an 
automatic  crater  positioner  which  op- 
erates over  the  complete  range  of  the 
lamp.  Once  the  burner  has  been  fo- 
cused to  the  reflector  a  constant 
white  screen  light  of  stable  intensity 
and  color,  evenly  distributed  over  the 
entire  screen  area,  is  automatically 
maintained.  Spot  focusing  never  dis- 
turbs the  equilibrium  of  the  arc  since 
the  electrode  spacing  is  not  disturbed. 
The  correct  position  of  the  positive 
crater  is  automatically  controlled  by 
a  sensing  element  which  governs  the 
speeds  of  the  separate  positive  and 
negative  Bodine  geared  head  motors, 
advancing  the  carbons  as  consumed 
to  maintain  a  uniform  gap  length. 
A  single  manual  adjustment  controls 
both  carbon  feeds  and  readily  allows 
the  burning  rate  to  be  tailored  to  the 
length  of  the  reels  so  as  to  permit 
most    efficient    use    of   carbons.    The 


12 


International  Projectionist         September,  1963 


THE  FUTURA 


positive  can  be  burned  at  from  7  to 
20  inches  per  hour  as  desired. 

The  use  of  a  single  Bi-Powr  sili- 
con stack  transformer-rectifier  is  re- 
commended as  an  ideal  power  suppl) 
for  two  Futura  lamps. 

I  iterature  on  the  new  futura  will 
be  sent  to  anyone  addressing  a  re- 
quest to  the  Strong  Electric  Corp.. 
31  Cit\  Park  Vvenue,  Toledo  I,  Ohio. 

iP 

Cinerama   Develops 
Non-Louvered   Screen 

Cinerama  has  disclosed  it  is  de- 
veloping a  new  screen  to  eliminate 
the  present  louver  system.  The  new 
development  is  planned  for  intro- 
duction in  theatres  after  the  current 
conversion  to  the  new  single  lens 
process  is  completed. 

The  new  screen  will  cover  the  same 
large  viewing  angle  as  the  wide, 
multi-louvered  screen  now  in  use, 
but  invisible  miniature  ribs  will  re- 
place  the  louvers  as  part  of  a  smooth 
surface.  The  present  Cinerama  screen 
characteristics  will  be  maintained, 
but  with  increased  efficiency,  the  de- 
velopers claim. 

iP 

New  16mm  Projector 
Uses  Xenon  Arc 

A  new  light  source  for  16mm  mo- 
tion picture  projection,  a  Xenon  arc. 
has  been  announced  by  the  Strong 
Electric  Corp. 

Known  as  the  Strong  X-16.  the 
lamo  is  adaptable  to  such  projectors 
as  Eastman  arc  and  incandescent. 
Norelco.  Hortson.  Bell  and  Howell. 
Victor.  RCA.  and  Ampro.  The  li<rht 
source  utilizes  tungsten  electrodes  to 
provide  an  arc  in  a  Xenon  gas  atmos- 
phere, totallv  enclosed  in  a  quartz 
envelope.  It  has  the  advantages  of 
providing  a  steadv.  flickerless.  pure 
white  light  source  with  no  discolor- 
ation and  with  extremelv  even  distri- 


bution of  light  over  the  total  screen 
area.  The  spectral  composition  of  the 
Light,  which  is  unaffected  b\  voltage 
variations  of  the  power  line  supply, 
results  in  excellent  reproduction  of 
color  films. 

The   equipment,   once   aligned   and 
focused,     needs     no     further     adjust- 


ment. No  moving  parts  are  employed 
in  the  light  source  and  no  special 
cooling  is  required. 

Four  models  are  available:  150. 
900,  1600  and  2500  watt.  The  igniter 
is  built  into  the  lamphouse  and  pro- 
vides the  proper  starting  or  ignition 
voltage.  The  associated  silicon  diode 
transformer- rectifier  is  specially  de- 
signed to  provide  the  exact  current 
characteristic    and    regulation    capa- 


bility for  optimum   operation  of  the 
light  source. 

Literature  on  the  X-16  can  be  ob- 
tained by  addressing  a  request  to 
the  Strong  Electric  Corp,  31  City 
Park  Avenue.  Toledo  1,  Ohio. 

iP 

Wilschke  Joins  EPRAD; 
Pioneer  Sound   Engineer 

Elmer  O.  Wilschke,  a  pioneer  in 
the  motion  picture  industry  has 
joined  EPRAD.  Inc..  Toledo,  Ohio 
manufacturer  of  communication, 
sound,  heating  and  electronic  equip- 
ment for  theatres,  hospitals  and 
restaurants  according  to  EPRAD 
president  Al   Boudouris. 

Wilschke,  one  of  the  original  ERPI 
engineers,  served  in  various  capaci- 
ties in  this  countrv  and  abroad  until 
the  formation  of  Altec  Service  Corp., 
at  which  time  he  was  eastern  division 
manager. 

iP 


PROJECTIONISTS  WANTED! 

National  Sound  Service  Co. 
will  interview  competent  IATSE 
personnel  for  position  as  Field 
Service  Men  in  theatrical  and 
industrial  field.  Send  letter  to: 
Box  410,  International  Projec- 
tionist, 545  5th  Ave,  New  York 
17,  N.  Y. 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport,  Pa. 


IF  YOU  ARE  NOT  USING  THE 
LITTLE  MISER"  CARBON  SAVER 

YOU  ARE  LOSING  SEVERAL 
HUNDRED  DOLLARS  EACH  YEAR 

Just  twist  the  stud  in  and  out 

No   grinding — No   dirt 

4  sizes,  9-10-1 1  mm,  $3.00  ea. 

13.6mm,  $4.50  ea. 


AN 


NEW 

ILLUMINATED   SCREW   DRIVER 


For  working  on  speaker  post  after  dark  .  .  .  com- 
plete with  4  driver  bits;  two  sizes  flat  head  and 
Phillips  head  and  two  No.  135  batteries,  $3.35 
each. 

LOU  WALTERS 

Sales   and   Service   Co. 

4207    Lawnview   Ave.,    Dallas   27,   Texas 
Phone    EV   8-1550 
Post   paid   when   check   is   sent   with   order. 


International  Projectionist        September,  796-3 


13 


XeTRON  Projector  for  16mm  Available 
As  Modification  Kit  for  JAN 


The  XeTRON  division  of  Car- 
bons, Inc.  made  its  first  official  dem- 
onstration of  a  JAN  projector  modi- 
fied for  Xenon  compact  arc  at  the 
Chicago  convention  of  N.A.V.A.  and 
for  the  first  time  showed  a  big  (9  ft. 
by  12  ft.)  bright  (12.5  F.C.)  picture 
with  the  new  XeTRON  type  JX  Xe- 
non 450  watt  lamphouse.  It  is  now 
possible  for  the  modified  projector  to 
deliver  three  times  as  much  screen 
brightness  as  can  be  obtained  from 
a  16rnm  projector  using  a  1000  watt 
incandescent  bulb,  the  company 
states. 

The  450/JX  lamphouse  has  been 
designed  only  for  the  "JAN"  pro- 
jector and  meets  the  needed  require- 
ments for  increased  screen  illumina- 
tion. This  JX  unit  is  sold  as  a  modi- 
fication kit,  complete  with  instruc- 
tions for  making  the  changes  to  im- 
prove the  quality  and  intensity  of 
the  projected  light.  Other  designs  will 
be   available   in    the   near   future  for 


use    with    other    make    professional, 
heavy  duty  type  projectors. 

Dimensions:  JX  is  14 %  in.  high 
by  5%  in.  wide  by  7%  in.  deep. 

The  450/CX  lamphouse  can  be 
used  with  many  standard  projectors 
now  using  carbon  arc  lamphouses, 
16mm  and  35mm,  and  will  deliver 
up  to  three  times  greater  illumina- 
tion as  will  a  standard  1000  watt  in- 
candescent bulb.  The  quality  of  light 
is  said  to  be  far  superior  and  is  sim- 
ilar in  Kelvin  temperature  (5450°  - 
5800°  K)  to  the  high  intensity  car- 
bon arc. 

Both  the  JX  and  CX  units  are  a 
"push-button"  operation  capable  of 
delivering  2100  lumens  (open  shut- 
ter) of  high  intensity  professional 
type  light  when  properly  utilized. 
They  are  self-contained  with  built-in 
ventilation  system  and  require  no  ex- 
haust stack;  there  is  no  ash  or  soot 
developed  as  products  of  combustion 


ti 


W/HY  WASTE  CARBONS? 

Use  The  "Master  Saver  Device 

Reduce  your  projection  carbon  cost  by  adopting  the  MASTER 
CARBON  SAVER  (designed  by  a  pioneer  IATSE  projectionist.) 
The  only  simple  and  accurate  saver  on  the  market  with  no 
springs,  screws,  nuts  and  bolts  and  requires  no  carbon  grind- 
ing. Each  carbon  held  by  "Precision  Taper"  after  stub  is  easily 
tapped  into  saver.  There  is  a  "MASTER"  saver  for  every  type  of 
Suprex  non-rotating  or  rotating  arc  lamp.  Now  being  used  by 
hundreds  of  theatres  on  STRONG,  ASHCRAFT,  PEERLESS,  etc.; 
sizes  6-7-8-9-10-llmm,  $3.50  each;   13.6mm,  $4.50  each. 

SOLD  BY  YOUR  LOCAL  SUPPLY  DEALER 

Manufactured   by 

MASTER  SPECIALTY  PRODUCTS 

200   West   72nd   St.,   New  York   23,   N.   Y. 


^1 

INTERNATIONAL  PROJECTIONIST 

'                                               Post   Office    Box    6174 

V***^"*     M 

Minneapolis  24,   Minnesota 

Enter   my 

□  1    year     (12)   issues — $3.00 
subscription   for 

□  2  years  (24)   issues — $5.00 

FOREIGN:   Add   $1.00   per  year 

Name  

Address                                                                                                                          i 

City 

Zone  State  

14 


since  the  Xenon  gas  and  compact  arc 
are  enclosed  in  a  quartz  bulb. 

Dimensions  of  the  CX  are  17*4  in. 
high  x  ll1^  in.  wide  x  V2  hi.  deep. 

The  power  supplies  are  manufac- 
tured for  XeTRON  by  Christie  Elec- 
tric Corp.  of  Los  Angeles,  said  to  be 
recognized  as  the  foremost  manufac- 
turer of  silicon  power  supplies.  The 
XeTRON  -  Christie  power  supply  is 
sold  as  an  important  adjunct  to  the 
CX  and  JX  type  Xenon  units  and  is 
required  if  maximum  light  output 
and  bulb  life  warranty  is  to  be  ob- 
tained. 

Dimensions  of  the  Christie  unit  is 
13%  in.  high  by  17%  in.  wide  by  13 
in.  deep. 

List  prices  are: 

450  watt  CX  Lamphouse 
complete,  less  bulb  $595 

450  watt  JX  kit  complete, 
less    bulb  595 

XeTRON-Christie  silicon 
power  supply  590 

450  watt  Xenon  bulb  175 

Dealer  discounts  are  given  on  ap- 
plication. Address  all  inquiries  to: 
XeTRON  Divisions,  Carbons,  Inc. 
400  Myrtle  Avenue,  Boonton,  N.   J. 

National  Carbon  Co. 
Changes  Its  Name 

National  Carbon  Co.  has  changed 
its  name.  It  is  well  known  in  the 
motion  picture  business,  National 
Carbon  Co.  is  a  subsidiary  of  Union 
Carbide  Corp.  It  is  not  as  well  known 
that  some  of  the  consumer  products 
of  Union  Carbide  were  produced  by 

SMPTE  Exhibit 
Nearly  Sold  Out 

Only  seven  exhibit  booths  were  still 
available  late  last  week  for  the  94th 
Technical  Conference  of  the  Society  of 
Motion  Picture  and  Television  Engi- 
neers, to  be  held  at  Hotel  Somerset  in 
Boston.  The  equipment  exhibit  will 
open  Oct.  14-17. 

subsidiaries  of  that  company.  It  is 
for  this  reason,  among  others,  that 
the  parent  corporation  decided  to 
change  the  names  of  all  of  its  sub- 
sidiaries, to  more  closely  identify 
with  Union  Carbide  Corp. 

Effective  Sept.  1,  National  Carbon 
Co.  became  Union  Carbide  Corp., 
Carbon  Products  Division. 

The  product  sold  to  theatres,  are 
carbons  which  had  simply  been 
known  as  National  Carbons,  will  con- 
tinue to  be  known  as  National  Car- 
bons, but  they  will  be  produced  by 
Union  Carbide  Corporation,  Carbon 
Products  Division.  iP 

International  Projectionist        September,  1963 


» AUTHORITATIVE 
» COMPREHENSIVE 


» 


PRACTICAL 


Acclaimed  by  leading  technicians  in 
the  industry  as  the  most  comprehen- 
sive and  down-to-earth  handbook  pub- 
lished to  date  on  the  subject  of  motion 
picture  projection.  Ideally  suited  for 
study  and  reference  by  your  opera- 
tors. 


ROBERT  A.  MITCHELLS 


MANUAL  OF  PRACTICAL  PROJECTION 


HANDY     5'/2'-     x     8'  2"     SIZE 


450     PAGES 


ILLU  STRATED 


CROSS      INDEXED      FOR      EASY      REFERENCE 


*  Here  is  one  of  the  most  help- 
ful works  ever  published  for 
the  motion  picture  projection- 
ist. A  handsomely  bound  and 
profusely  illustrated  compila- 
tion of  the  BEST  of  the  Robert 
A.  Mitchell  articles  that  have 
appeared  in  "International 
Projectionis  t,"  revised, 
brought  up  to  date. 


*  The  author  covers  clearly 
and  thoroughly  every  aspect  of 
motion  picture  projection,  pre- 
senting his  material  in  easily 
understood  language — not  too 
technical,  yet  technically  ac- 
curate. The  Manual  is  divided 
in  8  sections  and  contains  30 
chapters  —  a  valuable  refer- 
ence work  no  progressive  pro- 
jectionist should  be  without. 


I 


SECTION      HEADINGS 


(1)  Film;  (2)  The  Projector;  (3)  Projection-Optics,  Screens;  (4)  The  Arc  Lamp; 
(5)  General  Projection  Practice;  (6)  Motori,  Generators,  and  Rectifiers;  (7) 
Sound    Reproduction   Systems;    (8)    Projection   of  Color  and   3-D   Films,   Formulas. 


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A  Scene  From  America's  Projector  Carbon  Center. 


Final  inspection  before  packaging 


"Pre-packaging  inspection . .  .the  last  of 
61  checks  that  keep  our  projector  carbons  tops!" 


Jim  Hoynes 


From  milling  and  blending  of 

raw  materials  to  packaging  of 

the  finished  product,  National 

projector  carbons  must  pass 

one  of  industry's  widest  and 

most  rigid  ranges  of  tests  and 

inspections.  They  are  outstanding  for  depth  of 

quality  control— from  start  to  finish. 

The  above  view  in  our  Fostoria,  Ohio,  arc 
carbon  center  shows  inspection  No.  61  —  a  final 
overall  check  of  each  carbon  before  packaging 
for  shipment  to  distributors. 

During  their  many  manufacturing  and  test- 
ing stages,  National  projector  carbons  are 


-says  JIM  HOYNES 

"National"  Sales  Engineer 

baked  and  re-baked  at  precisely-controlled 
temperatures.  All  dimensions  and  straightness 
of  carbons  must  be  within  thousandths  of  an 
inch.  Voids  or  breaks  in  rare  earth  cores  are 
detected  by  x-ray.  Sensitive  instruments  meas- 
ure the  thickness  of  copper  coating  to  assure 
maximum  current  delivery  and  light  quality  on 
the  screen. 

All  the  way  up  the  61  steps  to  packaging,  the 
dominant  idea  at  Fostoria  is  to  produce  a  car- 
bon that  gives  both  exhibitors  and  patrons  the 
best  light  for  their  money. 

Today,  this  sound  policy  is  fast  approaching 
its  50th  Anniversary ! 


"National"  is  a  registered  trade-mark  of 


UNION    CARBIDE    CORPORATION 

CARBON    PRODUCTS   DIVISION 

270  Park  Avenue,  New  York,  N.  Y.  10017    •    In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


UNION 
CARBIDE 


I NTE  R NATIONAL 


i 


Qp» 


L 

SO 

— -    • 

e  » 

B 
H   0 


SMPTE 


Three  members  of  IATSE  Local  No.  228  were  present  when  the  new 
Strong  Futura  projection  arc  lamps  were  installed  in  late  August  at  the 
Jesse  James  Drive-In,  Toledo,  one  of  the  23  theatres  of  the  Armstrong 
Circuit.  Left  to  right  are  Harold  Plumadore,  project  engineer  of  the  Strong 
Electric  Corp.,  Arthur  Partis,  business  agent  of  Local  228,  and  Bill  Dusseau, 
projectionist  at  the  Jesse  James.  (See  story  on  page   16.) 


L 


Special  Issue 


OCTOBER 
VOLUME  38 
40c  A  COPY 


1963 

NUMBER  10 

$3.00  A  YEAR 


w 

>    CO 


^mrmmm*m* 


A  Scene  From  America's  Projector  Carbon  Center. 


Equipment  for  coating  carbons  with  copper 


«t 


Coating  projector  carbons  with  the  right  amount 
of  copper  is  a  top-billing  production  step" 


(     ) 

S    IS*  gi  \ 


This  equipment  performs  the 
important  task  of  coating  pro- 
jector carbons  with  copper— not 
for  eye  appeal,  but  for  the  vital 
purpose  of  assuring  more  de- 
pendable screen  lighting.  The         sid  Moriey 
coating  helps  conduct  current  from  the  jaws  of 
the  lamp  to  the  arc.  For  maximum  light  effi- 
ciency the  copper  coating  must  be  of  precision 
thickness  —  no  more  —  no  less ! 

From  the  coating  operation  at  "America's 
Projector  Carbon  Center"  in  Fostoria,  Ohio, 
National  carbons  move  to  an  automatic  resist- 
ance test,  where  a  direct  reading  instrument 


-says  SID  MORLEY 

"National"  Sales  Engineer 

measures  in  ohms-per-inch  the  coating  on  each 
carbon.  If  the  coating  is  too  thin  or  too  thick, 
the  unwanted  carbon  is  ejected  from  the  line. 

How  is  this  rigid  test  related  to  good  lighting? 
First,  if  the  coating  is  too  thin,  the  carbon  might 
spindle  back  to  the  holder,  resulting  in  freezing 
and  a  possible  lamp  shutdown.  Secondly,  if  too 
thick,  it  might  produce  copper  dripping  and 
cause  the  arc  to  wander. 

In  coating  and  all  other  manufacturing  steps, 
National  carbons  are  produced  by  today's  most 
reliable  quality  control  methods.  We  want  to 
be  sure  your  patrons  get  the  finest  screen  light- 
ing that  projector  carbon  money  can  buy ! 


UNION 
CARBIDE 


National"  is  a  registered  trade-mark  of 


UNION  CARBIDE  CORPORATION 

CARBON  PRODUCTS  DIVISION 

270  Park  Ave.,  N.  Y.,  N.  Y.  10017  •  In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL 

PROJECTIONIST 

Including  a  special  Audio-Visual  section  relat- 
ing to  the  operation  and  maintenance  of  A-V 
equipment  in  the  educational  and  industrial 
fields. 


Volume  38      October,  1963      No.  10 


FRANK   W.   COOLEY,    JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY  GALLO  ASSOCIATES 

National  Advertising  Representatives 

545  Fifth  Avenue,   New  York    17,   N.   Y. 

Telephone    Murrayhill    7-7746 

(Area   Code   212) 


IN   THIS   ISSUE 

Masking  the  Modern  Wide  Screen  4 

By  ROBERT  A.   MITCHELL 

SMPTE  Convention-  10 

Strong  Electric's  Cover  Story  16 

Photokina    Projection  14 

News  Notes — Technical  Hints — Miscellaneous  Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
International  Projectionist  Publishing  Co.  division  of  The 
Northern  Publishing  Co.,  Post  Office  Box  6174,  Minneapo'is 
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sumes no  responsibility  for  personal  opinions  appearing  in 
signed  articles,  or  for  unsolicited  articles.  Entire  contents 
copyrighted  1963  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 


MONTHLY  CHAT 


THE  SUPPLY  DEALER  IS  ESSENTIAL 

This  journal  has  consistently  urged  the  recognition 
due  the  established  equipment  dealers,  who  deserve  far 
more  prominence  than  is  given  them  in  the  film  industry, 
and  the  theatre  branch  in  particular. 

The  theatre  owner  and  dealers  relations  should  be 
far  better  than  they  are  now. 

The  reputable  theatre  equipment  manufacturer  picks 
and  chooses  his  outlet  around  the  country  for  the  sale 
oi  his  good  product.  So  the  exhibitor  can  be  sure  that 
the  installation  will  be  expertly  done. 

The  booth  craftsman  should  be  buddies  with  the 
dealer.  He  should  call  on  the  dealer's  store  and  chat 
awhile  with  the  dealer.  They  make  a  living  in  the  same 
business. 

The  dealer  is  up-to-date  on  the  latest  equipment. 
tfaybe  llif  projectionist  could  interest  his  theatre  owner 
i"  buj  thai  equipment.  And  just  nun  be  the  dealer  can 
pass  along  lips  that  the  projectionist  could  use  profitably. 

There's  remodeling  in  the  theatre  industry  in  several 
parts  of  the  country.  So  the  film  houses  face  a  severe 
competition  with  the  well-equipped  theatres.  After  all, 
Americans  have  autos  ami  the)  use  them.  If  their  neigh- 
borhood  theatre  is  shabbv  and  has  bad  projection  and 
sound,  they'l]  go  to  another    theatre  of  their  choice. 

I  he  established  dealer  is  the  best  friend  of  the  theatre 
owner  and  the  booth  craftsman  in  this  business.  He'll 
stack  his  reputation  on  the  line  when  he  recommends  a 
piece  of  equipment.  And  he  can  be  called  back  if  the 
installation  is  faulty. 

The  manufacturers  have  put  money  on  the  line  im- 
proving the  theatre  equipment  with  changes  in  film 
techniques  —  sound,  CinemaScope,  70mm,  Cinerama, 
lamps,  screens,  etc. 

The  dealers  have  kept  up  with  the  manufacturers  by 
their  solving  the  operation  of  the  complex  machines  with 
their   top   qualitv    installations. 

Manufacturers  and  dealers  are  maintaining  the  theatre 
industrv  with  up-to-date  equipment  necessary  for  the  film 
theatres'  survival. 

The  "house  divided"  in  the  film  industry  has  lasted 
long  enough,  with  exhibitors  fighting  the  distributors  and 
the  other  way  around,  and  theatre  owners'  penny- 
pinching  on  equipment. 

The  theatre  branch  better  go  back  to  showmanship 
with  improving  their  houses,  advertising  their  forthcom- 
ing and  current  shows,  courteous  staff  and  good  equip- 
ment so  the  booth  craftsman  has  pride  to  work  there. 

The  supply  dealer  is  a  service  organization,  to  service 
the  theatre.  If  the  booth  machines  themselves  were  that 
necessary  for  the  exhibitor  the  dealer  would  be  out  of 
the  picture.  The  dealer  has  to  sweat  his  own  profits  on 
the  deal,  while  satisfying  the  customer  with  all  the  man- 
hours  of  skilled  labor  for  installing  and  making  the 
machine  function  properly  as  per  the  guarantee. 

The  theatre  supply  dealer  is  a  mighty  important 
ment  looks  for,  is  that  there  will  exist  such  a  wholesome  at- 
tion,  servicing  the  equipment  the  dealer  is  essential  to  the 
theatre  industry. 

One  of  the  most  important  improvements  this  depart- 
ment looks  for.  is  that  there  will  exist  such  a  wholesome  at- 
titude within  the  industry,  particularly  by  the  theatre  own- 
ers and  projectionists,  for  even  more  cordial  relations 
with  the  supply  dealers  and  equipment  manufacturers. 


Intern  vtional  Projectionist 


October.   V)G? 


INTERNATIONAL   PROJECTIONIST 


Volume  38 


October  1963 


lumber  10 


GLAMOURIZING  THE  SCREEN 

PART  2 

Masking  The  Modern  Wide  Screen 

By  ROBERT  A.  MITCHELL 


Even  though  this  writer  personally  favors  the 
black-masked  screen,  there  is  much  to  be  said  for  the 
"ultramodern"  maskless  screen  and  for  the  psycho- 
visual  principles  on  which  it  is  based.  Such  screens, 
including  those  fitted  with  illuminated  borders,  have 
been  the  subjects  of  experiment  for  many  years;  and  at 
least  some  of  the  psychovisual  principles  underlying 
the  maskless  screen  were  well  known  and  utilized  photo- 
graphically in  the  long-ago  days  of  silent  pictures. 

The  type  of  screen  favored  by  the  noted  theatre  archi- 
tect Ben  Schlanger,  for  instance,  "dissolves"  and  extends 
the  boundaries  of  the  projected  picture  by  being  set 
into  a  close-fitting,  bent-wall  alcove  painted  white  like 
the  screen  to  reflect  a  pattern  of  light  which  blends 
softly  with  the  edge  of  the  picture.  So  instead  of 
being  bounded  sharply  by  black  masking,  as  is  usual, 
the  Schlanger  screen  provides  an  indefinite  boundary 
of  light  which  fades  off  into  darkness  in  an  ever- 
changing  manner. 
Vignetting   by   Photography 

The  device  of  vignetting  the  picture  by  means  of 
a  mash  in  front  of  the  camera  lens  was  frequently  used 
in  the  days  of  silent  films.  This  provided  a  soft,  out-of- 
focus  boundary  to  the  picture  photographed  on  the  film, 
but  without  the  varying  light  effects  produced  by  the 
Schlanger  screen  setup.  Also,  the  camera-vignetted 
image  restricted  the  total  area  of  the  frame  and  resulted 
in  a  slightly  smaller  picture  on  the  screen.  The  Schlanger 
screen,  on  the  other  hand,  does  not  take  any  area  away 
from  the  frame  and  gives,  in  addition,  the  impression 
of  a   larger   screen. 

The  foregoing  is  not  meant  to  imply  that  silent- 
film  cameramen  did  a  bad  job  with  the  tools  at  hand. 
Quite  the  contrary,  they  were  an  ingeniously  "arty" 
lot,  and  succeeded  admirably  in  their  compositional 
aims.  The  purpose  of  camera  vignetting  was  not  to 
fool  the  eye  into  seeing  a  larger  screen  than  was 
actually  present,  but  to  focus  the  attention  of  the 
audience  upon  the  dramatic  action  at  the  center  of  the 
screen. 

The  circular  mask  was  often  used  for  the  same 
purpose  in  the  earliest  days  of  the  moviemaking  art; 
and  the  "iris-in,"  "iris-out"  beginnings  and  ending 
of    scenes    found    in    certain    old    movies    suggested    by 

4 


expansion  and  contraction  of  the  frame  that  the  drama 
is  spotlighted  in  the  middle  of  the  screen. 

Other  old-time  picture-vignetting  tricks  included 
the  use  of  lenses  having  severe  spherical  aberration  to 
soften  detail  near  the  edges,  and  diffusing  lenses  to  cast 
an  ethereal,  luminous  mist  over  the  irrelevant  detail 
surrounding  the  middle  of  the  picture.  The  psychovisual 
suggestiveness  of  these  devices  was  extremely  effective. 
There  is  rarely  anything  similar  to  them  in  panoramic 
CinemaScope  pictures,  the  chief  shortcoming  of  which 
seems  to  be  their  inability  to  focus  dramatic  interest 
and  involve  the  spectator  in  the  picture  emotionally. 
The  characters  depicted  on  the  CinemaScope  screen  are 
often  too  "remote,"  and  their  dramatic  conflicts  too 
static,  to  affect  the  feelings  of  the  audience  the  way 
the  old-time  movies  did  with  apparent  ease. 
Black  Screen   Masking    Desirable 

Despite  the  invention  of  maskless  screens  of  vari- 
ous types,  we  believe  that  black  velour  screen  masking 
will  continue  to  be  used  in  99  per  cent  of  all  theatres. 
Black  masking  has  much  to  commend  it.  There  is  a 
visual  neatness  to  the  straight,  sharp  picture-framing 
boundaries  it  provides.  Brought  an  inch  or  two  into 
the  picture  area,  it  conceals  aperture  irregularities 
caused  by  small  deposits  of  film  dust.  The  straight 
vertical  sides  conceal  the  keystoning  caused  by  steep 
projection  angles.  Very  important,  the  sharply  de- 
fined black  edges  raise  apparent  picture  brightness  at 
the  sides  of  the  screen  where,  actually,  it  is  some- 
what lower  than  at  the  center  of  the  screen.  This  gives 
an  impression  of  uniform  screen  brightness,  a  very  de- 
sirable   condition. 

Until  about  1953,  motion-picture  screens  had  a  width- 
height  ratio  of  4:3  (an  aspect  ratio  of  1.333/1).  This 
ratio  was  established  in  the  first  place  by  the  early 
Edison-Dickson  35-mm  film  specifications;*  and  con- 
sidering that  the  movies  began  to  flower  commercially 
by  the  turn  of  the  century,  the  4:3-proportioned  screen 
enjoyed  universal  use  for  more  than  half  a  century. 

When  the  soundtrack  was  added  to  the  film  in  1928. 
the    incursion    of    the    track    by    about    a    tenth    of    an 


"The  35-mm  silent-film  frame  was  approximately  one 
inch  wide  and  three-quarters  of  an  inch  high. 

International  Projectionist  October,  1963 


JE2I 


inch  into  the  silent-aperture  picture  area  resulted  in  a 
square  picture  on  the  screen.  No  one  liked  a  square- 
shaped  picture.  In  order  to  rectify  this  defect,  the  so- 
called  "proportional"  aperture  measuring  0.825  \  0.600 
inch  was  laid  down  as  the  standard  aperture  for  35-mm 
sound-on-filra  prints.  This  represents  an  aspect  ratio  of 
L.375  I.  which,  however,  gives  a  1.333  1-ratio  picture  on 
the  screen  at  a  moderate  projection  angle. 

H\  interchanging  apertures  and  lenses  las  is  done  to- 
iia\  lor  CinemaScope) ,  standard  silent  prints  and  sound- 
oil-film  prints  could  he  shown  on  the  same  screen  at 
the    same    aspect    ratio. 

Remember   Those    Round    Corners? 

1  he  very  earliest  movies  were  shown  upon  un- 
masked   screens,    ordinarily     whitewashed    plasterboard 

or  painted  cam  as  tacked  to  a  wooden  frame  in  the 
manner  of  an  oil  painting.  \-  a  result,  the  projected 
picture  was  framed  bj  the  edges  of  the  film  aperture 
in  the  projector  gate.  Forasmuch  as  the  aperture 
usuallv  had  smoothly  rounded  corners,  the  1  ^-pro- 
portioned round-cornered  rectangle  was  generally  re- 
garded as  the  proper  "frame"  for  motion  pictures. 

When  the  advantages  of  velour  screen  masking  came 
to  be  recognized,  some  projectionists  and  theatre  man- 
agers went  SO  far  as  to  contrive  rounded  coiner-  Eor 
the  screen  masking  to  match  the  image  ol  the  old- 
style  film  aperture.  This  was  done  in  man)  theatres 
light  up  to  the  time  when  the  wide  much  per- 
manently   retired    the   proportional    soundfilm    aperture. 

The  persistence  of  rounded  screen  corners  was  due. 
not  only  to  a  conservative  adherence  to  cinema  tra- 
dition, hut  to  definite  visual-psv  etiological  advantages 
accruing  from  their  use.  First  of  all.  a  round-cornered 
picture  looked  good.  It  looked  good  for  reasons  which 
just   suited   the   character    of   dramatic    motion    pictures. 

The  angular  sharpness  of  square  screen  corners  dis- 
tract the  eye  from  the  central  area  of  the  screen  where 
all  significant  dramatic  action  takes  place.  Round  coi- 
ners remove  these  four  "points"  id  visual  distraction 
and  rest  the  eye.  Square  corners  emphasize  the  sharplv 
hounded  nature  of  the  rectangular  screen  no  matter  how 
large  it  may  actually  he.  Round  corners  seem  to  cause 
the  boundaries  of  the  picture  to  fade  from  consciousness 
once  interest  has  been  established  in  the  photoplay.  This 
writer  stronglv  advocated  the  round-corner  screen  in 
the  days  before  w  ide  screens  came  into  vogue.  See 
"Psvchological  Elements  in  Projection."  IF  for  May 
1949,   p.    II    et  seq. 

Contradictory  as  it  may  seem,  however,  a  round- 
cornered  screen  appears,  at  a  glance,  slightly  smaller 
than  a  square-cornered  one  of  the  same  size!  This 
might   be  a  disadvantage  today. 

It  is  possible  to  round  the  corners  of  a  1.75  1 
aspect  ratio  wide  screen  with  good  effect  and  with  an 
improvement  in  the  appearance  of  the  screen:  but 
the  use  of  the  same  screen  for  the  even  wider  Cinema- 
Scope  picture  1 2.35  ll  makes  this  stratagem  imprac- 
tical. 
Frame,   Screen    Sizes 

As  stated  earlier  in  this  article,  it  is  advantageous 
to  emplov  only  two  aspect  ratios.  2.35  1  I  or  2  1  I  for 
C  Scope  and  70-mm  prints,  and  1.75  1  for  standard 
non-anamorphic  35-mm  prints.  The  screen  should 
therefore  be  proportioned  and  masked  at  the  outset  for 
the  large  C'Scope  aspect  ratio  after  being  stretched 
smooth  and  flat  on  a  properly  set  up  screen  frame. 

A  screen  frame  should  be  one  foot  larger  on  the  in- 
side than  the  overall  measurements  of  the  screen,  itself. 
This  will  allow  6  inches  between  each  edge  of  the  screen 
and   the   frame,    which    is   the   space   required   to   permit 

International  Projectionist        October,  1963 


FIG.  f  —  The  Schlanger  type  of  maskless  screen  in  a 
theatre  of  ultramodern  design  (the  Shoppers'  Haven 
Cinema  in  Pompano  Beach,  Florida).  The  theory  and 
advantages  of  the  Schlanger  screen  are  described  in  the 
accompanying  text.  Ben  Schlanger  is  a  noted  theatre  archi- 
tect of  long  experience  who  has  devoted  much  attention 
to  sight  lines  and  the  "framing"  of  the  projected  picture. 

proper  hiring  of  the  screen  to  the  inside  of  the  frame. 
Then.  too.  the  screen,  itself,  should  be  one  foot  larger 
each  way  than  the  largest  picture  to  be  projected  upon 
it — the  CinemaScope  or  70-mm  picture.  This  allows 
sufficient  space  to  accommodate  the  webbing  and 
grommets  on  each  edge  of  the  screen. 

I  op  and  bottom  screen-masking  battens  are  best 
constructed  ol  light-weight  plvwood  hoards  of  the 
proper  width  i  1  '  -  to  2  feci  i  and  cleated  at  the  joints 
with  long  iron  straps  having  holes  so  that  they  may 
he  fastened  to  the  plvwood  sections  with  short  wood 
-(  rews. 

I  In-  black  velour  should  be  applied  smoothly  to  the 
front  (uncleated)  sides  of  die  battens,  wrapped  over 
tightly,  and  l.ukcd  mi  the  back.  The  masking  battens 
thus  prepared  may  be  fastened  to  the  screen  frame 
bv  means  ol  iron-strap  brackets  and  screws  or  hung 
h\    their  ends. 

Kxtra  care  should  he  taken  to  insure  that  the  edges 
are  straight  and  level,  and  that  a  uniform  picture  height 
i~  maintained  all  along  the  width  of  the  screen.  The 
battens  should  be  secured  to  the  screen  frame  solidly, 
bul  not  so  ■■permanentlv "  that  they  cannot  be  removed 
For  later  adjustment  or  for  the  installation  of  a  new 
screen. 

I  he  side  flats  are  usually  considerably  wider  than  the 
top  and  bottom  battens.  Fight-weighl  plvwood  panels, 
firmly    cleated.    are   satisfactory.    Stout   angle   irons   may 


■■"Mi 


FIG.  2  —  A  round-cornered  screen  in  the  old  conven- 
tional aspect  ratio  (1.375/1)  photographed  in  the  New 
Crest  Theatre,  Seattle,  Washington,  before  conversion  to 
widescreen  aspect  ratios.  Although  round  screen  corners 
are  distinctly  advantageous  and  pleasing  in  appearance  for 
the  conventional  aspect  ratio,  they  are  not  feasible  for 
screens  requiring  movable  side  masking  to  accommodate 
both  CinemaScope  and  the  now  established  1.75/1  wide- 
screen  aspect  ratio. 


1 


r^-o—^i 


1_J 

i                             1 
i                             I 

i                              ] 
i                             / 
i                             ( 

^Screen 

i               / 
i               i 

i               ] 

J^Ja. 


FIG.  3  —  Corner  portion  of  a  screen,  showing  the 
method  of  lacing  to  the  screen  frame.  This  method  is  the 
best  for  stretching  large  theatre  screens.  Note  that  about 
6  inches  of  space  should  be  allowed  between  each  edge  of 
the  screen  and  the  inside  edge  of  the  screen  frame.  Also, 
a  screen  should  be  one  foot  larger  each  way  than  the 
largest  picture  to  be  projected  upon  it.  This  gives  a  6-inch 
margin  of  safety  all  around  the  screen. 

be  attached  to  the  outer  edge  of  the  screen  frame  to 
hold  the  panels  in  place,  or  they  may  be  hung  from  the 
top.  In  any  event,  they  should  be  readily  removable  for 
making  desired  adjustments  in  their  position  at  the 
sides  of  the  screen. 
Discrepancies   in    Picture   Heights 

All  four  sides  of  the  screen  should  be  masked  for 
the  largest  aspect  ratio  used.  As  stated,  above,  this 
will  be  the  CinemaScope  aspect  ratio  (2.35/1  or  2/1, 
whichever  is  chosen ) .  But  note  that  the  height  of  the 
1.75/1-ratio  non-anamorphic  image  may  turn  out  to 
be  slightly  greater  or  less  than  the  height  of  the 
C'Scope  image  even  with  the  most  exact  matching 
of  lenses.  This  will  probably  be  because  sets  of  lenses 
can  be  matched  only  in  ^-inch  increments  of  focal 
length. 

If  such  a  small  discrepancy  in  the  heights  of  the  two 
images  is  present,  adjust  the  position  of  the  top  or 
bottom  masking  batten  for  a  1-inch  image  overlap, 
top  and  bottom,  with  the  aperture  image  of  lesser 
height.  This  will  insure  an  image  overlap  with  the 
other  aperture — perhaps  from  2  to  4  inches  top  and 
bottom. 

Naturally,  an  undersize  non-anamorphic  widescreen 
aperture  may  be  carefully  enlarged  by  filing  one  hori- 
zontal edge  to  match  the  projected  image  height  of  the 
C'Scope  aperture.  This  is  admittedly  a  tricky  job  be- 
cause it  is  so  easy  to  file  out  too  much  or  to  file  the 
edge  crooked.  Furthermore,  attention  should  be  paid 
to  vertical  centering.  If  the  unfiled  apertures  are  per- 
fectly centered  in  relation  to  the  projected  image  of 
the  C'Scope  apertures,  then  both  the  top  and  bottom 
edges  will  have  to  be  filed  out. 

The  side  masking  panels,  as  described,  are  not  in- 
tended   to    be    moved    in    and    out    to    accomodate    the 


different  widths  of  the  two  different  aspect  ratios.  Their 
function  is  only  to  insure  correct  side  masking  for  the 
CinemaScope  or  70-mm  picture.  Movable  black-velour 
side  drapes  should  always  be  used  as  "sliding  panels" 
to  alter  the  width  of  the  screen  for  the  two  different 
aspect  ratios. 
Movable  Side  Masking 

The  side-masking  drapes  should  be  motor-driven, 
have  an  automatic  stop,  and  be  controlled  by  the  pro- 
jectionist. He  will  open  them  up  from  the  projection 
room  when  switching  to  CinemaScope;  close  them  in 
when  switching  to  regular  projection. 

It  is  important  that  the  side-masking  drapes  be  made 
of  a  black  velour  material  similar  to  that  used  for 
the  "fixed"  screen  masking,  and  heavily  weighted  with 
lead  shot  in  their  bottom  hems  to  insure  straight 
hanging  at  all  times.  The  motor  curtain  stop  should 
be  adjusted  so  that  the  motor  shuts  off  when  the 
drapes  have  reached  the  point  where  they  overlap 
on  the  sides  of  the  non-anamorphic  picture  by  about 
2  inches.  It  is  a  good  idea  to  regulate  the  speed  of 
the  drive  for  a  rather  slow  rate  of  travel,  thus  pre- 
venting any  possible  swinging  of  the  side-masking 
drapes. 

Movable  side  masking  can  be  a  home-made  affair, 
but  it  is  better  to  purchase  the  masking  drapes,  over- 
head rigging,  and  electric  curtain  control  with  its 
relay  ready  made.  Excellent  setups  expressly  made 
for  the  purpose  may  be  obtained  from  many  theatre 
supply  dealers  and  from  such  favorably  regarded  manu- 
facturers as  Vallen,  Inc.,  Akron,  Ohio. 
Glamour  Pays  Off! 

A  properly  centered,  neatly  masked  screen  set 
into  a  tastefully  appointed  proscenium  is  the  principal 
point  of  interest  in  any  motion-picture  theatre.  If  the 
screen  is  a  good  one,  reflecting  a  bright,  uniformly 
lighted,  undistorted  picture  to  all  seats  in  the  auditorium, 
the  presence  of  colorful  draperies  on  the  stage,  overhead 
valances  to  conceal  the  striplights  and  the  top  of  the 
screen  frame,  and  some  special  decoration  (even  if  it 
be  but  a  vase  of  flowers  at  each  foot  of  the  proscenium 
arch ) ,  places  the  all-important  screen  in  the  truly 
theatrical  setting  it  deserves. 

The  stage  decor  and  color-effect  lighting  in  a  motion- 
picture  theatre  is  really  nothing  more  than  "window 
dressing"  for  the  screen.  Even  the  overture  and  inter- 
mission music  is  a  factor  to  be  tied  into  the  overall 
scheme.  The  beauty  and  glamour  of  the  screen  sur- 
roundings should  be  apparent  the  moment  the  grand 
drape  opens,  revealing  the  color-lighted  title  curtain. 
The  audience  should  be  pleased  by  what  they  see  and 
delighted  by  the  atmosphere  of  tasteful  beauty.  If 
they  experience  the  warm  satisfaction  we  wish  them  to 
have,  they  will  come  back  again  and  again  to  enjoy 
our  screen  presentations. 

The  projectionist's  first  duty  is  the  projection  of  a 
technically  good  image  and  the  reproduction  of  techni- 
cally good  sound.  This  is,  of  course,  just  about  the 
only  duty  he  has  in  those  garage-like  modern  theatres 
which  possess  all  the  glamour  of  an  empty  grain  eleva- 
tor! In  the  more  conventional  house,  with  its  warmer, 
more  comfortable  atmosphere,  the  projectionist  has 
a  second  duty,  namely,  the  enchantment  by  means  of 
his  specialized  skills  and  innate  flair  for  showmanship 
of  all  the  glamour  that  the  quality  of  the  screen  attrac- 
tions, the  decor  of  the  theatre,  and  the  co-operation  of 
the   management   will  permit. 

And  when  you  get  down  to  the  root  of  the  matter, 
what  is  showmanship  but  the  art  of  making  an  audience 
happy?  iP 


International  Projectionist 


October.   1963 


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Today's  audiences  know  real  class;  aren't  happy 
entation.  That's  why  it's  so  important  that  crisp, 
.  .  .  why  it  pays  to  GO  EASTMAN  all  the  way— neg 
laboratory  to  do  the  job  right.  Remember,  too: 
tions  — production,  processing,  projection.  For  fu 
Film  Department,  EASTMAN  KODAK  COMPANY, 
W.  J.  German,  Inc.  Agents  for  the  sale  and  distri 
Pictures  and  Television,  Fort  Lee,  N.  J.,  Chicago, 
Hollywood,  Calif. 


with  less  than  the  best— story,  production,  pres- 
sparkling  negatives  have  sharp,  top-quality  prints 
ative  and  print-stock— with  plenty  of  time  for  the 
Call  Eastman  Technical  Service  in  case  of  ques- 
rther  information  write  or  phone:  Motion  Picture 

Rochester  4,  N.  Y.  Or— for  the  purchase  of  film: 
bution  of  EASTMAN  Professional  Film  for  Motion 

III., 


FOR  COLOR 


EASTMAN  FILM 
I       I       II 


International  Projectionist       October,  1963 


THE  VERY  FINEST  PROJECTOR  PARTS 


ARE   MADE    BY 


There's  nothing  like  them  for  pre- 
cision manufacture,  close  inspec- 
tion, efficiency  in  operation,  depend- 
ability and  long  life.  Obtainable  from 
your  Theatre  Supply  Dealer. 


SINCE    190 


MACHINE   WORKS 

4635  W.  LAKE  ST.,  CHICAGO  44,  ILL. 
TELEPHONE— AREA  312— ES  8-163G 


*f 


£ 


MIfiHKT 

5PEED 

IN  PROJECTION 

Kollmorgen  lenses  rate  tops  in  the  motion 
picture  industry.  Used  exclusively  with 
Cinerama,  they  are  standard  equipment 
in  more  than  70%  of  American  theaters. 
High  light  uniformity  and  less  light  loss 
on  the  screen — the  whole  screen — are  typ- 
ical of  the  outstanding  performance  of 
SUPER  SNAPLITE®  lenses. 

Other  advantages  that  add  up  to  supe- 
rior screening  with  super  snaplite  are: 


Wire  sharp  contrast 
Uniform  illumination 
Crystal  clarity 

Wide  range  of  focal  lengths 
Sealed  construction 


Bulletin  222  describes  Kollmorgen 
lenses  in  detail.  See  your  equip- 
ment dealer,  or  write  us  direct. 


CORPORATION 

NORTHAMPTON,  MASSACHUSETTS 


Strong  Electric 
Issues  Brochure 
On  Futura  Lamps 

A  brochure  on  the  new  Futura 
projection  arc  lamps  is  now  available 
from  the  Strong  Electric  Corp.  It 
describes  in  detail  this  new  lamp 
which  fills  the  35  and  70mm  needs 
of  all  indoor  theatres  with  screens  up 
to  65  ft.  and  drive-ins  with  screens  up 
to  120  ft. 

The  Futura  comes  in  three  ratings: 
Futura  I  for  economy  of  operation 
with  11mm  carbon  trim  burning  at 
75  to  105  amperes;  and  the  Futura 
II  with  automatic  crater  positioner 
for  13.6mm  carbon  trim  burning  at 
120  to  160  amperes  or  11mm  carbon 
trim  burning  at  100  to  125  amperes. 

Utilization  of  the  standard  20-inch 
length  carbon  permits  projection  of 
an  extra  reel  of  film  per  length  of 
carbon.  The  optical  system  matches 
the  requirements  of  all  35  and  70mm 
projectors.  An  exclusive  is  the 
simplicity  of  change  from  one  film 
width  to  the  other  by  the  turning  of 
a  single  knob. 

A  copy  of  the  brochure  will  be 
sent  to  anyone  addressing  a  request 
to  the  Strong  Electric  Corp.,  31  City 
Park  Ave.,  Toledo,  Ohio,  43601.    iP 

New  Product- 
Is  Good  Mixer 

The  newest  "baby"  in  the  SOS  Tel- 
Amatic  line  is  a  two-position,  tran- 
sistorized mixer. 

Though  small  and  lightweight 
(21/4"x3"x5"  and  less  than  a  pound 
including  cable  and  attached  Cannon 
connector)  the  new  mixer  —  Model 
MX-1  —  will  provide  for  two  addi- 
tional low-impedance  microphone  in- 
puts. Designed  especially  to  be  used 
with  Auricon  Sound-on-Film  Ampli- 
fiers, MX-1  can  actually  be  used  to 
advantage  with  Magnasync  and  other 
high-quality  recording  equipment. 

It  is  easy  to  operate,  plugging 
directly  into  the  Phono  Input  of  an 
Auricon,  for  example;  uses  low-noise 
RCA  transistors  and  a  self-contained 
9  Volt  battery. 

For  further  information,  inquiries 
should  be  made  to  either  of  the  S.O.S. 
offices:  East  coast,  602  W.  52nd  St., 
New  York  City  10019,  or  West  coast, 
6331  Hollywood  Blvd.,  Hollywood, 
Calif.  90028,  asking  for  details  on 
the  SOS  Tel-Amatic  Two-Position 
Transistorized    Mixer   Model    MX-1. 

-     •■'■■--*■  iP 

International  Projectionist  October,  1963 


Investment  Opportunity 


The  hand  holding  the  hammer  will  someday  make 
products  for  you. 

Long  years  of  training  will  have  to  go  into  making 
those  chubby  fingers  productive.  Much  care,  much  love, 
much  planning  and  money. 

But  no  matter  how  lean  and  hard  and  skillful  they 
become,  it  will  signify  little  if  the  fruits  of  their  skill 
are  produced  in  anything  but  a  free  society. 

You  have  an  investment  in  those  hands.  To  protect 
your  investment,  you  can  join  with  other  leading  Amer- 
ican businessmen  to  promote  the  Treasury's  Payroll 
Savings  Plan  for  United  States  Savings  Bonds.  The 
Treasury  Department's  Plan  works  for  soundness  in 


our  economy,  strength  in  our  defenses,  and  thriftiness 
and  self-reliance  in  our  thinking. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll 
— you  are  investing  in  the  hands  of  tomorrow's  tool 
makers  and  tool  users.  You  are  investing  in  America's 
next  generation  of  machine  operators,  mechanics,  metal 
workers — in  all  of  America's  skilled  labor  force.  You 
are  investing  in  America's  future.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  to  the 
Treasury  Department,  U.S.  Savings  Bonds  Division, 
Washington  25,  D.C. 


:     in  your  plant... promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS     |||lf 

The  U.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism.  The  Advertising  Council  and  this  magazine. 


INTERNATIONAL   PROJECTIONIST 


SMPTE  Studies  Wide  Range 
Of  Technical  Projection  Subjects 


BOSTON,  MASS.  —  Latest  equip- 
ment in  the  fields  of  motion  pictures, 
television,  photoinstrumentation  and 
high-speed  photography  will  be  ex- 
hibited Oct.  14  -  17  during  the  94th 
convention  of  the  Society  of  Motion 
Picture  and  Television  Engineers. 
The  convention  will  be  held  at  the 
Somerset  Hotel  here. 

Included  in  the  2,000  persons  who 
will  view  the  exhibits  will  be  com- 
mercial motion-picture  producers, 
owners  of  processing  laboratories, 
television  engineers,  medical  re- 
searchers, persons  involved  in  edu- 
cational television,  and  space- 
research  scientists. 

The  Society's  Exhibit  Award  Com- 
mittee will  again  present  a  plaque  to 
the  firm  that  has  the  most  interesting 
and  effective  exhibit.  The  plaque  for 
the  best  exhibit  at  the  93rd  Conven- 
tion in  Atlantic  City  was  won  by 
the  Photolamp  Division  of  Sylvania 
Electric  Products,  Inc. 

Morton  Sultanoff,  a  physicist  at 
Aberdeen  Proving  Ground.  Md.,  has 
been    named    to    receive    this    year's 


E.  I.  du  Pont  Gold  Medal  Award. 

The  award,  which  recognizes  out- 
standing contributions  to  the  en- 
gineering phases  of  instrumentation 
and  high-speed  photography,  was 
announced  by  SMPTE  President 
Reid  H.  Ray.  Chairman  of  the  award 
committee  was  Carlos  H.  Elmer,  an 
executive  of  Traid  Corporation,  En- 
cino,   California. 

Mr.  Sultanoff,  who  is  chief  of  the 
detonation  section  at  Aberdeen's 
Ballistics  Research  Laboratories, 
studied  at  Drexel  Institute  of  Tech- 
nology in  Philadelphia,  the  Univer- 
sity of  Delaware,  and  at  Johns  Hop- 
kins University.  He  is  a  Fellow  of 
SMPTE  and  of  the  Society  of  Photo- 
graphic Instrumentation  Engineers, 
and  in  1961  received  SPIE's  Robert 
Gordon  Memorial  Award.  Mr.  Sul- 
tanoff also  holds  the  Superior  Ac- 
complishment Civil  Service  Award. 

The  technical  sessions  format  for 
the  94th  Semi-annual  Technical  Con- 
ference of  the  Society  of  Motion  Pic- 
ture and  Television  Engineers  has 
been   announced   by  program  chair- 


man Morton  H.  Read  of  Bay  State 
Film  Productions,  Springfield,  Mass. 

The  technical  program  will  open 
Monday,  Oct.  l4,  with  papers  on 
photography  in  medicine  scheduled 
throughout  the  day  and  evening. 

Papers  on  processing  laboratory 
practice  will  be  presented  Tuesday 
morning,  and  those  on  8mm  and 
small-format  will  be  read  during  the 
afternoon. 

Wednesday  morning  will  be  de- 
voted to  papers  and  demonstrations 
of  new  equipment  in  the  fields  of  mo- 
tion pictures,  television,  instrumen- 
tation and  high-speed  photography. 
Papers  in  the  subject  area  of  sound 
recording  will  be  presented  Wednes- 
day afternoon. 

Instrumentation  and  high-speed 
photography  will  be  the  subject  of 
papers  to  be  presented  all  day  Thurs- 
day. Concurrent  sessions  on  motion 
pictures  and  television  in  education 
are  scheduled  for  Thursday  afternoon 
and  evening. 

The  Semiannual  Technical  Confer- 
ence will  close  Friday  with  the  pre- 
sentation of  papers  on  television 
engineering  development  and  on 
space  technology. 

Arthur  C.  Hardy,  Emeritus  Profes- 
(Please  turn  to  page  15) 


W.  J.  GERMAN,  INC 


agent  for  the  sale  and  distribution  of 


EASTMAN  FILMS 


FORT  LEE,  N.  J. 
Jane  Street 
LOngacre    5-5978 

CHICAGO,  ILL. 
6040  N.   Pulaski  Rd. 
IRving   8-4064 

HOLLYWOOD,  CALIF. 
66yy  Santa  Monica  Blvd. 
HOllywood   4-6 1 3  1 


that  you  should 
specify  for  the 
best  of  motion 
picture  and  tele- 
vision  quality   from 
photography  thru 
release  printing. 


10 


International  Projectionist 


October,  1963 


TO 
TECHNICAL 
SESSIONS 


EXHIBITS 


Company 

Booth 

Company 

Booth 

H.    F.   Ormsbee 
Allen  Products  Inc. 
986  Bridgeport  Avenue 
Milford,   Conn. 

25 

Oliver  E.  Cain 
Florman   &    Babb,    Inc. 
68    West   45th    Street 
New    York    36,    N.Y. 

17  &   18 

Victor  James 

Arriflex  Corp.   of  America 
257    Park   Avenue  South 
New    York,    N.Y. 

16 

Ralph    T     Jope 
Hi-Speed     Equipment,     Inc. 
73    Pond    Street 
Waltham,    Mass. 

5 

Burt  Grodin 

Camera    Equipment    Co. 
315    West    43rd    Street 
New   York    36,    N.Y. 

6  &  7 

Harry  Teitelbaum 
Hollywood   Film  Co. 
956    N.    Seward    Street 
Hollywood    38,    California 

1 

John   P.    McCarthy 
Edgerton,    Germeshausen    & 
160    Brookline    Avenue 
Boston,    Mass. 

Grier, 

15 
Inc. 

E.    Werner 
Lipsner-Smith    Corp. 
3475    W.    Touhy   Avenue 
Chicago   45,    Illinois 

28 

Gerard  J.   Morio 
Elgeet  Optical  Co. 
303    Child    Street 
Rochester,    N.Y. 

21 

Wm    Willette 
Animation-Oxberry  Corp. 
38    Hudson   St. 
New    Rochelle,    N.Y. 

2 

International  Projectionist 

October.   1963 

Send 

for  complete 

information 

NATIONAL  STUDIOS 

42  West  48  Street,  NYC 


You   want  to   project 
a   good    picture? 

Install    a 

Hurley  Screen 

HURLEY    SCREEN    CO.,    INC. 

96-17    Northern    Blvd. 
Corona    68,    New    York 

See  your  theatre  supply  dealer 


Norelco 

projection 
equipment 

Available    from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment    Division 
100    E.  42nd   St.,    New  York    17,   N.Y. 


11 


PROJECTED  HIGHLIGHTS 


By  Ray  Gallo 


The  94th  SMPTE  Technical  Conference  and  Equipment 
Exhibit  being  held  at  the  Somerset  Hotel,  Boston,  Mass., 
certainly  presents  a  series  of  new  professional  products  for 
motion  pictures  and  television — in  fact,  this  94th  semi- 
annual convention,  held  in  the  city  where  the  American 
dream  of  Democracy  had  its  early  beginning,  offers  many 
interesting  sidelights.  It  introduced  many  new  instrumen- 
tations for  use  in  medicine  such  as  medical  photography 
devices  and  techniques.  Some  of  these  make  it  more  ac- 
curate to  probe  into  the  human  anatomy  for  known  and 
unknown  diseases.  Stereocineradiography  combines  the  four 
dimensions  of  space,  time,  sound  and  motion — a  4-D 
system.  A  miniature  television  camera  for  medical  pur- 
poses (endoscopic  examinations)  along  with  laboratory 
practices,  8mm  and  16mm  recording,  high-speed  photogra- 
phy and  educational  motion  picture  and  television  engineer- 
ing were  added  to  the  field  of  electronics.  These  and  space 
technology,  over  the  years,  have  given  the  world  sound, 
motion  and  image  for  "better  living."  The  SMPTE  talented 
members  represent  the  real  un-sung  heroes  of  today's  in- 
dustries.   Yes,    from    the    days    of    Marconi    down    to    the 


Spectral  Energy  Distribution  of  Various  Light  Sources 


5000  6000 

WAVE  LENGTH  IN  ANGSTROM  UNITS 


deForest  photo-cell,  some  dedicated  engineer,  like  any  dedi- 
cated professional,  has  made  our  lives  more  pleasant  and 
fulfilled  by  their  inventions  and  scientific  hardships.  Speak- 
ing of  hardships,  this  writer  recently  had  the   privilege  of 


The  XeTRON  Divi- 
sion of  Carbons,  Inc. 
made  its  first  official 
demonstration  of  a  JAN 
projector  modified  for 
Xenon  compact  arc  at 
the  Chicago  convention 
of  N.  A.  V.  A.  and  for 
the  first  time  showed  a 
big  (9'  x  12')  bright 
(12.5  F.C.)  picture  with 
the  new  XeTRON  type 
JX  Xenon  450  watt 
lamphouse. 

It  is  now  possible  for  / 
the  modified  projector 
to  deliver  three  times  as 
much  brightness  as  can 
be  obtained  from  a 
16mm  projector  using  a   1000  watt  incandescent  bulb. 

The  450/JX  lamphouse  has  been  designed  only  for  the 
"JAN"  projector  and  meets  the  needed  requirements  for 
increased  screen  illumination.  This  JX  unit  is  sold  as  a 
modification  kit,  complete  with  instructions  for  making 
ihe  changes  to  improve  the  quality  and  intensity  of  the 
projected  light.  Other  designs  will  be  available  in  the  near 
future  for  use  with  other  make  professional,  heavy  duty 
type  16mm  projectors.  JX  is  14%  in.  high  by  5%  in.  wide 
by  77/s  in.  deep. 

inspecting  the  Union  Carbide  Corporation's  arc  carbon 
division  plants  and  laboratories,  and,  while  engaged  in  the 
motion  picture  industry's  activities  for  the  greater  part  of 
my  adult  life,  even  I  had  no  conception  of  the  tedious 
research  and  long  hours  of  manufacturing  processes  it 
takes  to  fashion  a  projector  carbon.  The  chart  on  this 
page  shows  a  set  of  curves  based  on  one  of  the  sequences 
in  the  National  Carbon  technicolor  film  which  demonstrates 
the  spectral  characteristics  of  various  light  sources.  I'm 
sure  Bill  Cosby  or  Phil  Freeman,  both  top  executives  of 
the  arc  carbon  sales  division,  would  be  happy  to  arrange 
a  free  screening  of  this  excellent  short  if  you  are  interested 
to  see  it.  Incidentally,  right  after  this  convention  (Oct.  13  - 
18)  another  very  important  Trade  Show  Exhibit  will  be 
on  display  at  the  Hotel  Americana  in  New  York  from 
Oct.  28-31.  There  you  will  see  the  new  Strong  "Futura" 
projection  lamp  designed  for  both  35mm  and  70mm  exhi- 
bition, whether  it  is  a  conventional  indoor  or  Drive-in 
type  of  theatre,  and  the  new  model  AA11  Norelco  Uni- 
versal 70/35  projector  that  includes  a  dual  split  17/35 
magazine  shaft  to  eliminate  need  for  35mm  reels  with 
70mm  flanges.  You  will  also  be  able  to  see  the  Ashcraft 
arc  lamp  and  the  Century  projector — an  all-purpose  35mm 
and  70mm  American  made  system  with  the  transistor 
sound.  In  fact,  there  are  over  50  firms,  mostly  American, 
that  will  demonstrate  new  theatre  equipment  at  the  TOA- 
TESMA-TEDA  trade  show.  And  don't  forget  the  Spring 
SMPTE  convention,  the  95th  semi-annual  technical  and 
equipment  exhibit  conference  to  be  held  at  the  Hotel 
Ambassador  in  Los  Angeles,  April  12-17.  iP 


CARBON  ARCS  FOR    THE  FINEST  PROJECTION 


XENON  COMPACT  ARC 


jetTJFIOjW 


d i  vision 


Brighter  Light  on  Screen 

•  Longer  Burning  per  Carbon 
•   More   Economical 


CARBONS,    INC. 


■J '-hum   LAMPHOUSES  •   Xrf7/w/   POWER  SUPPLIES 

fcy  Cinemeccanica  by  Christie 


BOONTON.    N.  J. 


12 


International  Projectionist 


October,  1963 


Max    Blo.m  13 

Cine    60    M.P.    Equipment 

630    Ninth    Ave. 

New    York    36,    N.Y. 

Aristide    Ippolito  10 

Photo-Kinetics,     Inc. 

1624  Stillwell  Ave. 

Bronx,    N.Y. 

B.    Ingram  4 

Heico,    Inc. 

Stroudsburg,    Pa 

H.    Pilzer 

Hudson    Photographic    Industries 

Irvington,    N.Y. 

Robert    H.    Lawrence  11 

L-W    Photo,    Inc. 

15451    Cabrito    Road 

Van    Nuys,    California 

Ruth   Sheldon  22 

Precision    Laboratories 

928-930   East   51st  Street 

Brooklyn,    N.Y. 

A.  J.   Briglia  1  9  &  20 

Quick-Set,    Inc. 

8121    N.   Central    Park 

Skokie,    Illinois 

Hy    Shaffer  8 

Smith's    Photographies 

269    Massachusetts    Avenue 

Boston,    Mass. 

David  V.    Hall  14 

Sylvania    Electric   Products,    Inc. 

730    Third    Avenue 

New    York    17,    N.Y. 

Robert   King  3 

Traid    Corporation 

17136   Ventura    Blvd. 

Encino,    California 

Walter  Steuer  9 

Zoomar   Inc. 

55  Sea  Cliff  Avenue 

Glen    Cove,    N.Y. 


Detailed  Program 
SMPTE  Convention 


-4 
p.m. 


p.m. 


SUNDAY,    October    13 

REGISTRATION — 10    a. 

BUFFET    DINNFR — 5:30 

MONDAY,    October    14 

REGISTRATION — All    Day 

PHOTOGRAPHY    IN    MEDICINE    — 
Morning 

Television  and  Cine  Systems  for  Med- 
ical Fluoroscopy;  Television  X-Ray 
Image  Storage  Aparatus;  Television 
X-Ray  Image  Amplifier;  Image  Am- 
plification and  Television  for  Medical 
Education;  Research  Documents  for 
Psychotherapy. 

GET-TOGETHER   LUNCHEON — Noon. 
Guest  Speaker:  Gen.  George  W.  God- 
dard,  Speciol  Assistant  to  the  President 
of   Itek  Corp. 

BUSINESS   MEETING — Afternoon 
PHOTOGRAPHY    IN    MEDICINE — 
Afternoon 

Stereocineradiogrophy;  Endoscopic  Pho- 
tography Through  the  Fiberscope;  X- 
Ray  Time-Lapse  Studies  of  Living 
Bone;  Time  Lopse  Studies  of  Living 
Cells  in  Division;  Advances  in  Polar- 
ized Light  Microscopy;  Technical  Prob- 
lems in  Endoscopic  Cinematography, 
Miniature  Television  Camera  for  En- 
doscopic Purposes. 
PHOTOGRAPHY  IN  MEDICINE — 
Evening 

National    Institutes  of   Health   Film: 
"Microelectrophoresis:      The      Fabrica- 
tion and  Use  of  the  Five-Barrel  Micro- 
electrode";       Cinegastroscopy;       High- 
Speed  Photography  of   Eye  Circulation. 


TUESDAY,    October    15 

LABORATORY  PRACTICE  —  Morning 
Design  of  a  1 6mm  Editing  Machine; 
Rapid  Processing  of  a  Panchromatic 
Negative  Film  by  a  Viscous  Mono- 
bath;  Method  for  Converting  Subtrac- 
tive  Timing  and  Color  Balance  Print- 
ing Data  to  Additive  Printing  Settings; 
Step  Scale  Metrics  and  Quantitative 
Exposure  Determination;  Gevacolor 
Position  T953;  Metro-Kalvar  Motion- 
Picture  and  Television  Film;  Techni- 
scope;  Comparison  of  Projected  Ima- 
ges;   Optical   Effects. 

8MM    AND    SMALL-FORMAT    FILM    — 
Afternoon 

Photographic  Variable-Area  Sound  Re- 
cording for  8mm;  8mm  Variable-Area 
Sound;  Technical  Program  for  8mm 
Educational  Sound  Film;  8mm  Sound 
— The  Film  in  Education;  8mm  Test 
Film  Report;  8mm  Sound — Review  of 
Progress;  Magnetic  and  or  Optical 
Sound  for  8mm  Film;  Challenge  of 
8mm    Sound    Film. 

PRESENTATION   OF  SOCIETY  AWARDS 
— Evening 

WEDNESDAY,   October    16 

EQUIPMENT     PAPERS     AND     DEMON  - 
STRATIONS — Morning 
New    products    described    ond    demon 
strated   by   exhibitors. 

SOUND   RECORDING — Afternoon 

Synthesis  and  Manipulation  of  Natur- 
al Sounds  in  Electronic  Music  for 
Films;  8mm  High-Speed  Magnetic 
Multiple  Sound  Dubber;  Cross  Modu- 
lation Distortion  in  Present  Recording 
Practice;  Viscous  Layer  Processing  of 
Variable-Area  Sound  Negatives;  New 
Magnetic    Film. 

COCKTAIL   PARTY,    BANQUET  AND 
DANCE  —    Evening 

THURSDAY,   October   17 

INSTRUMENTATION    AND   HIGH  - 

SPEED  PHOTOGRAPHY  —  Morning 
and  Continued  Concurrent  Sessions. 
Application  of  Focal  Plane  Shutter 
Camera  to  Explosives  Research;  High- 
Speed  Studies  of  Fractures  of  Brittle 
Materials;  Laser  Applications;  Image 
Enhancement  Through  Development  of 
Film  —  Photo-Optics  Today  and  To- 
morrow; Camera  Mount  for  Missile 
Tracking;  Optical  and  Infrared 
Masers. 

MOTION  PICTURES,  TELEVISION  AND 
EDUCATION  —  Afternoon 
Developments  in  School  Television 
Programming;  Tele-Lecture;  Parlons 
Francois  and  the  Training  of  Class- 
room Teachers;  Mobile  Viedeo-Tape 
Production    for    Educational    Television. 

INSTRUMENTATION    AND    HIGH- 
SPEED PHOTOGRAPHY — Afternoon 
(Concurrent  Session) 

MOTION  PICTURES,  TELEVISION  AND 
EDUCATION — Evening 
Instructional  Television  Overseas;  Lo- 
cation and  Newsreel  Motion-Picture 
Equipment;  Audio-Visual  Devices;  Ef- 
fective Visual    Presentations. 

FRIDAY,   October   18 

TV  ENGINEERING  DEVELOPMENTS; 
SPACE  TECHNOLOGY 
Developments  of  Electronic  Special 
Effects  in  Television;  Subjective  Eval- 
uation of  Broadcast  TV  Pictures; 
Simplified  Operating  Practices  for 
Studio  Cameras;  Television  Film  Re- 
corder for  Field  Sequential  Color  and 
Standard  Monochrome;  Image-Orthicon 
Operation;  Secondary  Electron  Conduc- 
tion in  Low-Density  Targets  for  Signal 
Amplification  and  Storage  in  Camera 
Tubes;    Portable    Television    Tape    Re- 


DAMAGED  FILM 
HOSPITAL 


Why  Junk  DAMAGED  FILM? 

"The  Film  Doctors'"  (specialists  in  the 
science  of  film  rejuvenation)  can  restore 
scratched,  brittle,  and  worn  film  at  a 
fraction  of  new  print  costs.  Old,  damaged 
8,  16,  35mm  film  can  be  restored  to  orig- 
inal screening  quality  and  its  life  can  be 
prolonged  indefinitely. 
RAP1DWELD:  restores  damaged  originals,  neg- 
atives and  prints. 
RAPIDTREAT:  completely  protects  and  prolongs 

the  life  of  new  prints  indefinitely 
RAPID   FILM  SHIPPERS:   vault  storage,    interna- 
tional distribution  and  inspection  facilities. 

Ask    for    Booklet    Y-8 


For    complete    details    write: 

ARID  FILM 
TECHNIQUE.  INC. 

37-02  27  ST.,  L.  I.  C.  1,  N.  Y. 
STillwell  6-4600  •  Est.  1940 


<GF\ 


You  Name  It... 
S.O.S.  Has  It! 


i 


Here,    under    one    roof,    on    entire    building    de- 
otcd     to     all     your    needs     for     producing     pro- 
essing,    recording,    editing,    lighting    and    show- 
ing   motion    picture    films  .  .  .  and    at    WORTH- 
WHILE   SAVINGS     IN     PRICE! 


Amplifiers 

Anamorphic    Lenses 

Animation      Stands, 
Titlers 

Arc    Lamps 

Auricon      Cameras 

Books,     Technical 

Booms,     Micro- 
phones 

Cameras,      Profes- 
sional 

Colortran      Lights 

Dollies,    Cranes, 
Tripods 

Drive-ln      Theatre 
Equipment 

Film    Magazines 

Film    Printers 

Film    Cleaning 
Machines 

Film     Cabinets 

Film     Editing 
Equipt. 

Film     Lab     Equipt. 

Film     Numbering 
Machines 

Film     Processors 


Generators 
Hot    Presses 
Lenses,     All     Sizes 
Lighting     Equipt. 
Marquee      Letters 
Moviola     Editors 
Projection      Equipt. 
Projection     Lamps 
Projector 

Mechanisms 
Rectifiers 
Reels,    Cans,     Film, 

Tape 
Reflectors 
Sound     Cameras 
Soundheads 
Sound  and   Speaker 

Systems 
Stage    Equipmnet 
Stripping    Machines 
Synchronizers, 

Splicers 
Technical    Books 
Theatre     Equipt. 
Viewers,     Sound 

Readers 
Zoom     Lenses,    etc. 


International  Projectionist        October.  1963 


^      Visit  S.O.S.  at  Booths  23-24 
^  at   the   Convention 

S.O.S. 

PHOTO-CINE-OPTICSJNC. 

602   West  52nd    St.,    N.Y.C.    10019. 

Tei.    PLaza    7-0440 

Western     Branch:    6331     Holly'd     Blvd., 

Hollywood,    Calif.    90028 


13 


3  NEW  CAMERA  MART  ACCESSORIES 


NEwGTC-59 

LENS  CLEANER 
&  PROTECTOR 

•  Anti-Fog      •  Anti-Static 

Ideal  for  lenses,  cameras, 
condensors,    reflectors,    optical 
equipment,  etc.  \.     / 

6  oz.  can  with  Spray  Applicator  $1.65  each 
Case  of  12/$1.00  each 

m-fap€)  LIQUID 

INSULATING  TAPE 
Just  Brush  it  on  Those 
Hard-To-Tape  Places 

Designed  for  use  in  electrical  in- 
5?&  :.  stallations,  maintenance  and  re- 
^2j/      pair.  Prevents  shorts,  shocks. 

2  oz.  Bottle  $1.65  each    Case  of  12/$1.00  each 


artrmn 


bJ^—Jb       Restores, 

'/BE/        Quiets 


Lubricates 


Completely  safe  for  sound  pro- 
jectors, amplifiers,  studio  rec- 
ording equipment  and  editing 
equipment.  Non-inflammable. 
Used  for  all  gummy  parts  — 
instantly  cleans  and  deposits  a 
hard  bonded  dry  lubricant. 

2   oz.    Bottle   $1.00   each      Case  of  12/75c  each 
Write  for  complete  literature.  All  Prices  F.O.B.  N.  Y. 


unman  mhrt 

1845  BROADWAY  (at  60th  St.) 
NEW  YORK  23,  N.Y.  .  PLaza  7-6977 


corder;  Correction  of  Differential 
Phase  Distortion  in  Color  Video-Tape 
Recording;  New  Concept  in  Studio 
Lamps;  Stratoscope  II  Television  Sys- 
tem;  Surveyor  Television  Subsystem. 

EXHIBITORS 

Allen    Products,    Inc. 

Arriflex   Corp.    of  America 

Camera    Equipment    Co. 

Edgerton,   Germeshausen  &  Grier 

Elgeet  Optical   Co.,    Inc. 

Florman    &    Babb,    Inc. 

Hi-Speed    Equipment,    Inc. 

Hollywood    Film   Co. 

L-W   Photo  Products,    Inc. 

Lipsner-Smith    Corp. 

Photolamp   Div.,   Sylvania    Electric 

Products,    Inc. 
Precision   Cine   Equipment  Corp. 
Quick-Set,    Inc. 

S.O.S.    Photo-Cine-Optics,    Inc. 
Smith's    Photographies 
Traid   Corp. 
Zoomar,    Inc. 


ASSOCIATION   OF   CINEMA 
LABORATORIES 

The  ACL  will  meet  at  The  Somerset  on 
Saturday,  October  12,  immediately  pre- 
ceding the  SMPTE  Technical  Conference. 
The  Equipment  and  Techniques  Forum 
during  the  afternoon  will  be  open  to 
SMPTE  members.  There  will  be  a  special 
preview  of  the  SMPTE  Equipment  Exhibit 
for  ACL  members  at  10:30  a.m.  Mon- 
day, October  14. 
COMMITTEES 

SMPTE  Engineering  Committees  will 
meet  during  the  Technical  Conference 
—  committee  members  will  be  notified 
by  letter  of  the  times  and  dates  of 
their  meetings.  Editorial  activities  dur- 
ing the  conference  will  include  meetings 
of  the  Papers  Committee,  the  Board  of 
Editors  and  the  Publications  Advisory 
Committee. 
LADIES'    PROGRAM 

Boston's  many  places  of  cultural  and 
historical  interest  will  keynote  the  Ladies' 
Program.  There  will  be  a  full  schedule  of 
events  to  make  this  a  delightful  week 
for  the  wives. 

iP 


Projection  Equipment 
At  Europe's  Photokina 


By  R.  Howard  Cricks, 

Hon.  FBKS,  FRPS 

The  first  portion  of  IPs  report  on 
Photokina,  one  of  the  world's  largest 
projection  shows,  was  carried  in  last 
month's  issue.  Continuing  the  dis- 
cussion of  new  European  projection 
equipment  featured  there,  we  must 
say  something  more  about  the  Philips 
projectors. 


THE  REVOLUTIONARY  XENON  LIGHT  SYSTEM 
FOR  SUPERIOR  MOTION  PICTURE  PROJECTION 

check  these  big  zeiss-ikon 
xenosol  advantages: 

■  COLOR  FIDELITY 

■  LOW  CURRENT  CONSUMPTION 

■  SUPERIOR  QUALITY  PROJECTION 

■  TROUBLE-FREE  CLEAN  OPERATION 

■  IMMEDIATE  STARTING 

ZEISS-IKON  XENOSOL  equipment-for  new  installations  and 
existing  carbon  arc  housings-is  available  in  900  watt,  1,600  watt 
and  2,500  watt  sizes  to  fit  every  theatre's  need. 

For  complete  information:  CINE  ELECTRONIC  SYSTEMS  INC 
225  East  46th  Street,  New  York,  New  York.  Phone :  PLaza  8-1561 

14 


We  saw  another  application  of  the 
new  lamp:  a  new  projector-a  slight 
modification  of  the  FP20S — known 
as  the  FP22S,  which  uses  two  1000- 
watt  lamps.  One  is  in  the  normal 
place  just  behind  the  gate;  the  other 
is  at  the  side,  and  a  mirror  shutter 
three  times  per  frame  reflects  its 
light  into  the  aperture,  which  thus 
receives  six  flashes  per  frame.  The 
light  output  is  15,000  lumens. 

Yet  another  development  is  a  new 
pulsator.  The  previous  types  are  of 
course  synchronized  from  the  pro- 
jector, running  at  24  frames  per 
second,  and  to  smooth  the  50  c/s  of 
the  European  mains  sufficiently  to 
prevent  flicker  needs  quite  costly 
circuits.  The  new  pulsator  is  syn- 
chronized with  the  50  c/s  mains;  it 
operates  in  conjunction  with  the  new 
FP25S  projector,  which  is  driven  by 
a  synchronous  motor  at  25  frames 
per  second.  The  new  pulsator  is  half 
the  size  and  half  the  cost  of  the  pre- 
vious type. 

But  the  highlight  of  the  Philips 
exhibit  was  the  Solo  projector.  It  is 
designed  to  carry  13,000  ft.  reels, 
and  as  shown  in  the  photograph,  the 
magazines  are  positioned  either  side 
of  the  projector  stand.  A  loaded 
spool  is  pretty  weighty,  so  the 
spools  are  carried  on  the  trolley 
shown,  which  is  wheeled  up  to  the 
magazine  and  the  spool  is  slid  on  to 
the  shaft.  The  foot  -  pedal  shown 
serves  to  rewind  after  the  complete 
reel  has  been  shown  (a  fully  auto- 
(Please  turn  to  page  18) 

International  Projectionist        October.  1963 


I  train  page  10 1 

sor  of  Optics  and  Photograph)  at 
Massachusetts  Institute  of  Tech- 
nolog) .  has  been  named  to  receive 
the  1963  Progress  Medal  Award  of 
the  Societj  of  Motion  Picture  and 
Television  Engineers. 

The  award,  which  recognizes  out- 
standing technical  contributions  to 
the  progress  of  motion-picture  and 
television  engineering,  was  announced 
In  SMPTE  President  Reid  H.  Ra>. 
Chairman  of  the  award  committee 
was  Sidnex  P.  Solow.  vice  president 
and  general  manager  of  Consolidated 
Film  Industries.  Hollywood. 

Dr.  Hard\.  who  completed  a  11- 
year  teaching  career  at  MIT  on  his 
retirement  in  1961,  is  probably  best 
known  for  his  pioneer  work  in  mo- 
tion-picture sound  recording  during 
the  mid-1920's  and  his  later  work 
on  the  theory  of  color  reproduction 
in  the  fields  of  photography,  televi- 
sion, and  the  graphic  arts.  With  F.  H. 
Perrin  he  is  the  author  of  "The  Prin- 
ciples of  Optics."  a  standard  refer- 
ence in  the  field. 

Henr\  V  Kozanowski,  manager  of 
tcle\  ision  advanced  development  for 
Radio  Corporation  of  America  in 
Camden.  \.  J.,  will  receive  the  1  963 
David  Sarnoff  Gold  Medal  of  the 
Societ)  of  Motion  Picture  and  Televi- 
sion  Engineers. 

Robert  L.  Lamberts,  research  asso- 
ciate with  Kodak  Research  Labora- 
tories in  Rochester,  N.  Y..  has  won 
the  1963  Journal  Award  of  the  So- 
ciety of  Motion  Picture  and  Televi- 
sion Engineers. 

SMPTE  Editorial  Vice-President 
Herbert  E.  Farmer  announced  the 
award,  which  recognizes  the  most 
outstanding  technical  paper  published 
in  the  monthly  Journal  of  the  SMPTE 
during  the  preceding  year. 

The  award  committee,  headed  1>\ 
H.  Theodore  Harding,  motion-picture 
marketing  manager  for  Du  Pont  in 
\\  ilminiiton.    Del.,    also     named     two 


honorable  mention  winners.  They  are 
Walter  Bach,  president  of  Bach  Auri- 
con,  Inc..  of  Hollywood,  and  Dr.  J. 
S.  Courtnev -Pratt,  research  physicist 
at  Bell  Telephone  Laboratories.  Mur- 
ray   Hill.  N.  J. 

Mr.  Lamberts's  winning  paper. 
"Application  of  Sine-Wave  Techni- 
ques to  Image  Forming  Systems." 
appeared  in  the  September  1062  is- 
sue of  the  Journal.  The  paper  dis- 
cusses the  derivation  of  spatial  fre- 
quency— more  properly  called  modu- 
lation transfer  function — and  illus- 
trates the  usefulness  of  modulation 
transfer  function  in  evaluating  opti- 
cal  and   photographic   systems. 

New  uses  of  photography  and  tele- 
\  ision  in  education  will  be  outlined 
in  technical  papers.  The  topic  chair- 
man for  the  education  papers  is 
Hartford  Gunn.  Jr..  general  manager 
of  WCBH-FM  and  TV.  educational 
stations  in  Cambridge.  Mass. 

Among  those  persons  scheduled 
to   present  papers  are: 

I  beodore  R.  Conant.  The  Ford 
Foundation.  New  York.  "New  De- 
velopments in  the  Role  and  Scope  of 
Instructional     Television    Overseas." 

Michel  Beilis.  \merican  Telephone 
and  Telegraph  Co..  New  York,  "What 
is  Tele-Lecture?" 

Alan  R.  Stephenson.  The  21 -Inch 
Classroom.  Watertown.  Mass..  "De- 
velopments in  School  Television  Pro- 
graming." 

Russ  Morash.  WGBH.  Cambridge. 
Mass..  "Mobile  Video-Tape  Produc- 
tion for  Educational    Television." 

Robert  \\  .  Cannaday,  Jr..  Modern 
Language  Project.  Boston.  "  "Parlous 
Francais'  and  the  Training  of  Non- 
specialist  Classroom  Teachers  for 
Follow-up  in  French." 

John  A.  Maurer.  JM  Develop- 
ments. Inc..  New  York.  "A  Techni- 
cal Program  for  8mm  Educational 
Sound    Films." 

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International  Projectionist         October.  1963 


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Present  at  the  installation  of  the  new  Strong  Futura  projection  arc  lamps  in 
late  August  at  the  Jesse  James  Drive-In  Theatre,  Toledo,  one  of  the  23  theatres 
of  the  Armstrong  Circuit,  were  (left  to  right),  William  White,  field  representa- 
tive of  the  Strong  Electric  Corp.;  Clifford  Callender,  sales  manager  of  the  motion 
picture  division  of  Strong;  Arthur  J.  Hatch,  president  of  the  Strong  Electric 
Corp.,  and  Jack  Armstrong,  head  of  the  Armstrong  Circuit  and  president  of 
National   Allied. 

Cover  Story: 

Strong  Electrics  "Futura" 
Projection  Lamp  Shown  to 
Exhibitors  at  National  Show 


The  new  Futura  projection  arc 
lamp,  unveiled  in  September,  will  be 
the  feature  of  an  exhibit  by  Strong 
Electric  Corporation  at  the  TOA  - 
TESMA  -  TEDA  -  NAC  trade  show 
Oct.  28  -  31,  Americana  Hotel,  New 
York  City. 

The  Futura  fills  the  35  and  70mm 
needs  of  all  indoor  theatres  with 
screens  up  to  65  ft.  and  drive-ins  with 
screens  up  to  120  ft.  The  optical 
system  of  this  powerful  direct  cur- 
rent angle  trim  high  intensity  arc 
has  been  designed  to  match  the  re- 
quirements of  all  35mm  and  70mm 
projectors.  An  exclusive  with  Strong 
is  the  simplicity  of  change  from  one 
film  width  to  the  other,  the  turning 
of  a  single  knob.  A  calibrated  scale 
with  reference  pointer  permits  pre- 
cise reset  of  burner  focus  once  the 
35  and  70mm  positions  are  esta- 
blished. 

The  Futura  comes  in  three  ratings: 
Futura  I  for  economy  of  operation 
with  11mm  carbon  trim  burning  at 
75  to  105  amperes;  and  the  Futura  II 
with  automatic  crater  positioner  for 
13.6mm  trim  burning  at  120  to  160 
amperes  or  for  11mm  carbon  trim 
burning  at  100  to  125  amperes. 

Efficient  utilization  of  the  standard 


economical  20-inch  length  carbon 
permits  projection  of  an  extra  reel  of 
film  per  length  of  carbon. 

An  18-inch  diameter  first  surface 
Tuf-Cold  reflector,  developed  by 
Strong  and  bearing  a  two-year  sliding 
scale  guarantee  is  provided  for  use 
with  lamps  burning  at  95  amperes 
and  above.  The  resulting  low  aper- 
ture temperature  assures  perfect  pro- 
jection without  the  film  damage  and 
buckling  which  results  in  in-and-out 


The  Futura: 


Strong  Electric  Company's  new  Fu- 
tura projection  arc  lamp  is  available 
in  three  ratings  for  varied  carbon  trims 
and  amperages. 


L6 


International  Projectionist 


October.   1963 


An  example  cf  the  brilliant  image  projected  tj  a  lirge  drive-in  theatre  screen 
by  the  new  Strong  Futura  projection  arc  lamp  is  shown  in  this  unretcu.hed 
photo  made  recently  at  the  Jesse  James,  Toledo,  one  of  the  23  theatres  of  the 
Armstrong  circuit.  All  of  the  lighting  around  the  concession  building,  turned 
on  so  as  to  illuminate  the  patrons'  cars,  had  no  appreciable  effe.t  m  the  pow- 
erful  light  projected  to  the  screen. 


of  focus.  Sikcred  reflectors  are  pro- 
vided with  tamps  burning  at  less  than 
')r>   amperes. 

The  futura  has  a  new  t\pe  con- 
venient arc  imager  s\stem.  redesign- 
ed  to  eliminate   parallex. 

The  Strong  exhibit  will  also  include 
the  X-16  Xenon  Projection  lamp,  new 
Bi-Powr  silicon  diode  stack  trans- 
former-rectifier designed  as  a  power 
source  for  the  operation  of  two  arc 
lamps,  and  Tuf-Cold  reflectors.      iP 


¥         ^^ 


Norelco  To  Show  360° 
Exhibit  at  World's  Fair 

\  number  of  Norelco  Pulse  Lite 
projectors  will  be  an  integral  part  of 
a  giant  ■')()()  motion  picture  exhibit 
at  the  forthcoming  New  York  World's 
Fair.  The  exhibit  will  be  shown  on 
surround  walls,  broken  l>\  partitions 
so  that  about  a  thousand  persons  may 
stand  in  a  sort  of  circular  well  to  see 
the  picture.  The  performance  is  ex- 
pected to  be  of  about  20  minutes 
duration.  The  building  has  been 
designed  to  accommodate  another 
1000  persons  waiting  for  each  per- 
formance and  is  intended  to  be  a 
temporary  one. 

It  will  be  demolished  and  re-erected 
somewhere  else  when  the  fair  (loses 
at  the  end  of  1%5. 

One  of  the  state  exhibits  will  house 
the  circularl)  projected  picture 
system.  iP 


PROJECTIONISTS  WANTED! 

National  Sound  Service  Co. 
will  interview  competent  IATSE 
personnel  for  position  as  Field 
Service  Men  in  theatrical  and 
industrial  field.  Send  letter  to: 
Box  410,  International  Projec- 
tionist, 545  5th  Ave.,  New  York 
17,  N.  Y. 


PROJECTIONISTS 
PREFER 

ETHYLOID 

Film  Cement  For 

BEST  RESULTS 

Available  from 

Supply  dealers 

FISHER  MFG.  CO. 

1185  Mr.   Read  Blvd. 
Rochester,  N.Y. 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport.  Pa 


DOUBLY  PLEASED  —  Lloyd  A. 
Turel,  proje;tionist  at  the  new  Norwest 
Theatre,  Detroit,  appears  to  be  doubly 
pleased  with  his  position  -  pleased  with 
his  Strong  Lo-Current  projection  arc 
lamps  and  pleased  to  have  such  an  at- 
tractive boss.  Dale  Young  Killeen, 
manager. 

International  Projectionist        October.  196.c 


Stea4c*tp  Tflttvwid?    it  c*«t  u&e*  »at, 

HEYER-SHULTZ 
UNBREAKABLE    METAL  REFLECTORS 

TOP  SCREEN 
ILLUMINATION 

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WILL  NOT 
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SERVICE 

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Theatre  Supply  Dtaler          HEYER-SHULTZ,  Inc.     cedar  Grove,  n.  j. 

17 


Photokina 


matic  rewind  was  thought  to  he 
undesirable) . 

The  Solo  is  designed  to  be  oper- 
ated from  the  auditorium  console  on 
the  left  of  the  picture.  Everything  is 
remotely  controlled:  start,  stop,  light 
brightness,  sound  volume,  focus, 
racking,  and  even  the  3-lens  turret 
which  operates  in  conjunction  with 
a  3-way  gate  aperture. 

A  number  of  years  ago  Andre 
Debrie  showed  me  in  Paris  a  proto- 
type of  an  attachment  for  fitting  to 


from  page  14 

an  ordinary  35mm  projector,  and 
using  the  same  illuminant,  enabling 
16mm  films  to  be  projected  in  the 
cinema.  The  latest  development  was 
shown  at  Photokina:  a  simple  fit- 
ting which  hinged  to  the  existing 
projector,  and  was  driven  by  either 
of  two  motors,  for  16  and  24  frames 
per  second  respectively. 

A  new  range  of  16mm  projectors 
was  demonstrated  by  Associated  Elec- 
trical Industries  —  formerly  British 
Thomson-Houston,   which    made   the 


n 


WHY  WASTE  CARBONS? 

Use  The  "Master  Saver  Device 

Reduce  your  projection  carbon  cost  by  adopting  the  MASTER 
CARBON  SAVER  (designed  by  a  pioneer  IATSE  projectionist.) 
The  only  simple  and  accurate  saver  on  the  market  with  no 
springs,  screws,  nuts  and  bolts  and  requires  no  carbon  grind- 
ing. Each  carbon  held  by  "Precision  Taper"  after  stub  is  easily 
tapped  into  saver.  There  is  a  "MASTER"  saver  for  every  type  of 
Suprex  non-rotating  or  rotating  arc  lamp.  Now  being  used  by 
hundreds  of  theatres  on  STRONG,  ASHCRAFT,  PEERLESS,  etc.; 
sizes  6-7-8-9-10-llmm,  $3.50  each;   13.6mm,  $4.50  each. 

SOLD   BY  YOUR   LOCAL  SUPPLY   DEALER 

Manufactured   by 

MASTER  SPECIALTY  PRODUCTS 

200   West   72nd   St.,    New   York   23,   N.   Y. 


There's   Plenty   for   You   At 

CENTURY! 

.  .  and  from  CENTURY  only 


dramatic,  New  ALL  TRANSISTOR 
sound  systems 


'True   high-fidelity, 

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rLow  installation  cost, 

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'Increased   reliability, 
less   maintenance. 

'No  vacuum  tubes,  no 
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and  the  only  American-made  70  mm  35 
theatre  projection  systems 


SEE 

YOUR   CENTURY 

DEALER 


for  bigger,  brighter  projection. 


CENTURY  PROJECTOR  CORP. 

New  York  19,  N.  Y. 


Philips  FP20S  projectors  as  installed 
in  the  ABC  Cinema,  Croydon,  Eng- 
land. Identical  in  appearance  are  the 
other  two  Philips  projectors  recently 
introduced  at  the  Photokina  exposition, 
FP22S  and  FP25S. 

first  successful  16mm  sound  projec- 
tor in  Europe.  It  uses  a  relay  optical 
system,  which  besides  making  effi- 
cient use  of  the  light,  enables  the 
shutter  to  be  placed  at  a  cross-over 
point,  so  that  it  also  works  at  maxi- 
mum efficiency.  It  is  available  with 
optical   and  optical/magnetic   sound. 

I  saw  a  very  attractive  Japanese 
16mm  machine,  the  Elmo.  It  is  com- 
pletely self-contained,  and  uses  a 
1000-watt  xenon  lamp.  It  provides 
optica]  and  magnetic  sound. 

A  final  point  of  interest,  although 
not  in  the  projection  field:  a  camera 
running  at  the  rate  of  8,000,000 
frames  per  second,  and  another  ca- 
pable of  exposures  down  to  20  milli- 
microseconds— one-fiftieth  of  a  mi- 
crosecond !  The  first  is  made  by  the 
British  firm  of  Barr  &  Stroud,  and 
the  second,  employing  an  image  in- 
tensifier,  by  the  German  firm  of 
Impuls-Physik.  iP 

Xenosoi  Reports  Long 
Operating  Bulb  Hours 

Cine  Electronic  Systems  Inc.,  has 
announced  the  results  of  a  series  of 
in-the-theatre  tests  to  determine  the 
burning  life  of  various  Xenon  lamps 
of  their  Xenosoi  System  installations. 

Amherst  Theatre  in  Batavia,  New 
York,  now  has  over  2,877  operating- 
hours  on  their  1,600  watt  bulbs  and 
still  putting  out  with  almost  100% 
light.  Peter  Becker  reports  they  are 
still  working  fine  and  it  loks  like  thev 
are  going  to  get  a  lot  more  hours, 
before  they  have  to  make  any 
change.  iP 


Hi 


International  Projectionist 


October.   1963 


» AUTHORITATIVE 
» COMPREHENSIVE 


» 


PRACTICAL 


Acclaimed  by  leading  technicians  in 
the  industry  as  the  most  comprehen- 
sive and  down-to-earth  handbook  pub- 
lished to  date  on  the  subject  of  motion 
picture  projection.  Ideally  suited  for 
study  and  reference  by  your  opera- 
tors. 


ROBERT  A.  MITCHELL'S 


MANUAL  OF  PRACTICAL  PROJECTION 


i-iANOY     5'  2 


SIZE 


450   pages   —    illustrated 


CROSS  INDEXED  FOR   EASY   REFERENCE 


*  Here  is  one  of  the  most  help- 
ful works  ever  published  for 
the  motion  picture  projection- 
ist. A  handsomely  bound  and 
profusely  illustrated  compila- 
tion of  the  BEST  of  the  Robert 
A.  Mitchell  articles  that  have 
appeared  in  "International 
Projectionis  t,"  revised, 
brought  up  to  date. 


*  The  author  covers  clearly 
and  thoroughly  every  aspect  of 
motion  picture  projection,  pre- 
senting his  material  in  easily 
understood  language — not  too 
technical,  yet  technically  ac- 
curate. The  Manual  is  divided 
in  8  sections  and  contains  30 
chapters  —  a  valuable  refer- 
ence work  no  progressive  pro- 
jectionist should  be  without. 


! 


SECTION      HEADINGS 


(1)  Film;  (2)  The  Projector;  (3)  Projection-Optics,  Screens;  (4)  The  Arc  Lamp; 
(5)  General  Projection  Practice;  (6)  Motors,  Generators,  and  Rectifiers;  (7) 
Sound    Reproduction   Systems;    (8)    Projection   of  Color   and  3-D   Films,   Formulas. 


ORDER  YOUR  COPY  TODAY  *  USE  THIS  HANDY  FORM 


INTERNATIONAL    PROJECTIONIST 
Post   Office   Box    6174 
Minneapolis    24,    Minnesota 

Gentlemen:    please   send   me   copy   (copies)   of    ROBERT   A.    MITCHELL'S    MANUAL   OF 

PRACTICAL    PROJECTION.    Enclosed    is    my    check    (or    money-order)    for    $ 


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UTU 


Fills  the  requirements  of  all  indoor  theatres  with  screens  up  to  65  feet  and  all  drive-ins 
with  screens  up  to  120  feet.  Available  in  three  ratings:  FUTURA 1  for  economy  of  operation 
with  11mm  carbon  trim  burning  at  75-105  amperes,  and  the  FUTURA  11,  with  automatic 
crater  positioner  for  13.6mm  carbon  trim  burning  at  120-160  amperes,  or  11mm  carbon 
trim  burning  at  100-125  amperes.  The  optical  system  matches  the  requirements  of  all 
projectors,  35mm  or  70mm  with  simple  interchangeability  for  either  film  width.  18-inch 
Strong  TUF-COLD  reflector  for  operation  above  95  amperes,  silvered  reflectors  for  opera- 
tion below  95  amperes.  Burning  economical  20-inch  carbons,  an  extra  reel  can  be  projected 
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INTERNATIONAL 


(See    Story    on    Page    10) 


NOVEMBER 
VOLUME  38 
40c  A  COPY 


1963 

NUMBER  IT 

$3.00  A  YEAR 


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Investment  Opportunity 


The  tools  this  young  apprentice  is  learning  to  make  will 
one  day  be  used  to  turn  out  your  company's  products. 

A  great  investment  in  time,  money,  effort  and  faith 
will  have  to  go  into  making  him  productive.  Every  one 
of  us  has  a  stake  in  his  success— and  every  one  of  us 
must  invest  something — for  on  the  developing  skills  of 
America's  young  tool-makers  depends  the  continued 
functioning  of  all  industries. 

You  can  protect  your  investment  by  joining  with  other 
leading  American  businessmen  to  promote  the  Treas- 
ury's Payroll  Savings  Plan  for  U.S.  Savings  Bonds.  The 
Treasury  Department's  Plan  helps  safeguard  the  individ- 


ual  liberties,  and  encourages  the  industrious  and  respon- 
sible attitudes  so  necessary  for  the  growth  of  our  econ- 
omy and  the  well-being  of  our  society. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll — 
you  are  investing  in  the  next  generation  of  America's 
skilled  craftsmen  and  technicians.  You  are  investing  in 
our  future.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  to  the 
Treasury  Department,  United  States  Savings  Bonds 
Division,  Washington,  D.C.,  20226. 


in  your  plant... promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS     || 

The  U.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism.  The  Advertising  Council  and  this  magazine.  • 


INTERNATIONAL 

PROJECTIONIST 

Including  a  special  Audio-Visual  section  relat- 
ing to  the  operation  and  maintenance  of  A-V 
equipment  in  the  educational  and  industrial 
fields. 


Volume   38        November,    1963         No.    11 


FRANK    W.   COOLEY,    JR. 
Editor   and    Publisher 

RAY  GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY  GALLO  ASSOCIATES 

National  Advertising  Representatives 

545  Fifth  Avenue,   New  York    17,   N.   Y. 

Telephone    Murrayhill    7-7746 

(Area   Code   212) 


IN    THIS    ISSUE 

Takeup  Action   Important  4 

By  ROBERT  A.   MITCHELL 

The  Cover  Story: 

The  Community  Theatre  10 

Miami's  Concord  Theatre  12 

TEDA   Developments  1  1 

News  Notes — Technical  Hints — Miscellaneous  Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
International  Projectionist  Publishing  Co.  division  of  The 
Northern  Publishing  Co.,  Post  Office  Box  6174,  Minneapo'is 
24,  Minnesota.  Editorial  offices,  1645  Hennepin  Avenue, 
Minneapolis  3,  Minn.  Subscription  Representatives:  AUS- 
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sumes no  responsibility  for  personal  opinions  appearing  in 
signed  articles,  or  for  unsolicited  articles.  Entire  contents 
copyrighted  1963  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 


1 
International  Projectionist         November.  1963 


MONTHLY  CHAT 

SHORTAGE  OF  70MM  PRINTS 

The  exchanges  around  the  country  have  not  many 
70mm  prints  —  one,  two  or  three,  with  the  bulk  of 
course  35mm  prints. 

The  70mm  cost  is  five  times  more  than  the  35mm 
print.  The  basic  print  order  is  250  on  the  35mm  prints, 
say  these  cost  $1,000,  the  same  70mm  prints  would 
cost  85.000  to  $8,000.  (70mm  prints  last  longer  than 
the  35mm  prints.) 

No  wonder  producers  or  distributors  say  that  the 
average  movie  patron  won't  know  the  difference  if 
70mm  or  35mm  prints  are  projected  on  the  screen. 

Well,  why  bother  to  use  70mm  prints  on  hard- 
tickel  showings  around  capital  cities  of  the  country? 
Because  the  producers  and  distributors  cash  in  the  long- 
run  and  publicity   on  the  big  city's  showings. 

Holding    Back   The    Industry 

Nevertheless,  the  producers  and  distributors  are  hold- 
ing hack  the  film  industry  on  getting  70mm  prints 
around    to    their   exchanges. 

The  theatre  owners  won't  install  70  35mm  projectors 
a>  the  status  quo  lasts — they  can't  get  70mm  prints  for 
love  or  money.  The  exhibitor  keeps  worn-out  and 
obsolete  equipment,  with  expensive  repairs,  waiting  for 
the  change  of  scene  in  the  film  industry. 

According  to  one  equipment  manufacturer,  who  has 
traveled  the  country  several  times,  "this  won't  last  long." 
lie  says  the  public  is  selective.  The  public  listens  to 
stereo  on  the  radio,  many  families  have  their  own  hi-fi 
phonographs  and  they  know  what  Cinerama,  Todd-AO. 
and   70mm   looks  like  on  the  screen. 

Progress   bound    to   come 

Progress  in  the  film  industry  is  bound  to  come.  But 
it  will  come  only  when  the  producers,  distributors  and 
exhibitors  get  together. 

There  are  many  shabby  theatres  in  which  the  dis- 
tributor's opulent  show  reaches  the  public;  it  is  as 
important  to  the  picture's  sponsor  as  it  is  to  the  ex- 
hibitor. 

The  men  with  investments  in  theatre  properties 
might  well  ask  themselves  what  they  are  doing  about 
this  condition.  Well,  there's  no  theatreman  of  experi- 
ence who  does  not  know  full  well  that  it  takes  more 
than  a  picture  to  keep  the  film  business  prosperous. 

The  most  serious  factor  about  this  situation  is  that 
the  industry  recognizes  it,  but  chooses  to  argue  back 
and  forth  between  the  exhibition  branch  and  distribu- 
tion branch. 

Study  the   new   processes 

So  the  projectionist  better  study  the  new  processes, 
such  as  the  president  and  chairman  of  Cinerama,  Inc., 
Nicolas  Reisini,  said  in  his  financial  report  that  Cine- 
rama installations  in  theatres  "should  reach  200  by  the 
end  of  1963." 

The  movie  theatre  was  once  the  leader  in  providing 
creature  comforts.  It  is  now  trailing  the  retail  establish- 
ments   catering    to   the    American    consumer. 

IP  will  hope  that  the  well-traveled  man  is  right 
about:    "this   won't   last   long."  iP 


INTERNATIONAL   PROJECTIONIST 


Volume  38 


November,   1963 


Nymber  1 1 


Takeup  Action    Important  To 
Good  Projection 

By  ROBERT  A.  MITCHELL 


The  lower-magazine  film  takeup  of  projectors  are 
only  rarely  a  serious  concern  to  projectionists.  It  is  more 
or  less  assumed  that,  somehow,  the  film  will  wind  up 
properly  on  the  takeup  reel.  This  assumption  is  not 
always  warranted.  We  have  found  that  incorrect  and 
erratic  takeup  tension,  together  with  worn  holdback 
sprocket  teeth,  are  frequent  causes  of  print  damage. 

Some  of  the  projectors  made  during  the  first  decade 
of  motion-picture  projection  —  1896  to  1906  —  had  no 
takeups  at  all!  A  large  canvas  bag  was  hung  underneath 
the  projector  stand  to  catch  the  film  as  it  issued  from  the 
machine.  Without  the  bag,  a  full  1000  feet  of  dangerously 
inflammable  nitrate  film  ran  out  onto  the  floor  in  a 
loose  pile!  It  is  not  difficult  to  imagine  the  condition  of 
the  film  after  being  scratched,  trampled  upon,  and  soiled 
by  such  rough  treatment. 

Principle   of    Film   Takeup 

The  problem  of  designing  a  satisfactory  and  depend- 
able film  takeup  was  complicated  by  the  variable  rate 
at  which  the  lower  reel  of  a  motion-picture  machine  must 


FIG.  1 — Conventional  type  of  takeup  clutch  assembly 
used  in  nearly  all  projectors.  The  drive  pulley,  run  by 
a  belt  from  a  pulley  in  the  soundhead,  is  not  fastened 
directly  to  the  takeup  spindle,  but  runs  freely  on  a  steel 
sleeve.  In  the  Simplex,  the  pulley  turns  a  flange  which 
communicates  its  rotation  to  the  takeup  spindle  via  a 
leather  slip-disc  which  allows  the  reel  to  revolve  more 
slowly  as  the  film,  fed  to  it  from  the  holdback  sprocket, 
retards  its  rotation.  The  tension  of  the  coil-spring  which 
couples  the  flange  and  friction  disc  is  adjustable  by  means 
of  a  locknut  near  the  end  of  the  takeup  spindle. 

4 


turn.  It  is  obvious  that  the  rotation  of  the  reel  must 
decrease  in  speed  as  the  diameter  of  the  film  roll  increases. 

This  problem  was  successfully  solved  in  the  motion- 
picture  camera  by  devising  a  friction-clutch  arrangement 
which  allowed  the  takeup  reel  to  be  retarded  in  its  rota- 
tion by  the  film  itself.  The  tension  of  the  clutch  was 
adjusted  so  that  the  reel  revolved  at  all  times,  but  with- 
out placing  undue  strain  on  the  film  being  fed  to  the 
reel. 

The  same  type  of  friction-disc  clutch  was  adapted  for 
use  on  projectors  at  an  early  date;  but  whereas  old- 
time  movie  cameras  handled  only  relatively  small  and 
light-weight  rolls  of  film  (250  to  500  feet),  projectors 
had  a  film  capacity  of  1000  feet,  soon  increased  to  2000 
feet  in  order  that  2-reel  "features"  might  be  shown  with- 
out an  interruption  for  changing  reels. 

The  principal  difficulty  encountered  with  projector 
film  takeups  was,  and  still  is,  the  large  difference  in  the 
diameter  and  weight  of  the  film  roll  between  the  time  that 
the  showing  of  a  reel  has  just  begun  and  the  time  when 
nearly  all  of  the  film  has  been  wound  up  at  the  end  of 
the  run.  A  200-ft.  roll  of  film  wound  on  a  4-inch 
diameter  core  or  reel  hub.  for  example,  has  an  outside 
diameter  of  14  in.  and  a  weight  of  approximately  9 
lbs.  —  plus  the  weight  of  the  empty  reel. 

The  takeup  unit  must  accordingly  accommodate  a 
large  variation  in  the  weight  of  reels  of  film  and  also  be 
able  to  wind  the  film  without  fail  at  the  end  of  the  run 
while  taking  it  up  without  undue  strain  in  the  sprocket 
holes  at  the  beginning  when  the  roll  diameter  is  still 
small. 

These  difficulties  have  been  aggravated  in  recent 
years  by  the  use  of  300-ft.  35-mm  reels  for  half-hour  TV 
programs,  the  increasing  popularity  of  4000-ft.  reels  for 
theatre  use  (originally  introduced  for  the  now  defunct 
double-strip  3-D  process),  and  4000-ft.  reels  for  70-mm 
film  ( weighing  about  36  lbs.  when  fully  loaded ) .  We 
hesitate  to  comment  on  the  13.000-ft.  reels  of  the  amaz- 
ing Philips  Solo  projector  except  to  express  admiration 
of  the  engineering  ingenuity  responsible  for  the  endless 
parade  of  cinematic  wonders  emanating  from  the  Philips 
factories! 

Except  for  special  modifications  involving  separate 
motors  for  driving  the  takeups,  the  classical  friction- 
disc  clutch  still  remains  standard  equipment  for  transmit- 
ting rotary  power  to  the  takeup  reel. 

International  Projectionist        November,  1963 


FIG.  3 — The  Philips  Norelco  70/35-mm  projector  cm- 
ploys  a  drive  shaft  instead  of  a  pulley-and-belt  arrangement 
for  driving  the  takeup  friction  clutch. 

Construction  of  Tokeup  Unit 

Fig.  1  shows  ilif  simple  construction  of  a  regular 
35-mm  projector  takeup.  A  belt  driven  l>\  a  pullej  in  the 
projector  mechanism  or  soundhead  runs  the  drive  pulle) 
of  the  takeup  at  a  constant  speed.  The  reel  shaft,  or 
sj)in< I K-.  i-  nut  Fastened  directlj  to  the  drive  pulley,  how- 
ever, but  to  a  friction  clutch  which  has  the  requi>ite 
degree  of  slippage.  The  clutch  consists  of  two  smooth- 
faced metal  discs  between  which  is  a  friction  disc  <>l 
leather,  cork,  or  similar  material. 

\\  ith  no  film  in  the  projector,  the  coupling  is  com- 
plete, and  the  takeup  spindle  revolves  at  the  same  speed 
as  the  pullev .  But  when  film  is  being  taken  up  on  a  reel, 
the  film,  fed  at  a  constant  rate  from  the  holdback  sproc- 
ket of  the  soundhead,  retards  the  rotation  of  the  reel 
and  causes  the  jriclion-dise  and  metal-flange  clutch  In 
slip  while  transmitting  the  rotary  pouer.  The  larger  the 
diameter  of  the  roll  of  film  on  the  takeup  reel,  the  more 
slowly  the  reel  revolves,  and  the  greater  the  friction- 
disc  slippage. 

The  Simplex  projector,  like  most  others,  employs  a 
leather  friction  disc.  The  Motiograph.  however,  uses  a 
cork-faced  discs  to  provide  the  same  result.  Leather  discs 
should  be  relatively  free  from  oil  to  work  satisfactorily: 
cork  discs  should  be  soaked  in  projector  oil. 

The  speed  at  which  the  drive  pulley  of  the  takeup  unit 
turns  should  be  only  very  slightly  greater  than  the  speed 

International  Projectionist        November.  1963 


required  by  the  smallest  reel-hub  diameter  used  in  the 
lower  magazine.  The  high  rotational  speed  required  for 
the  1%-inch  hub  1000  ft.  reels  (10  inches  in  outside 
diameter)  places  a  great  deal  of  tension  on  the  film  at 
the  beginning,  particularly  when  the  tension  spring 
of  the  takeup  is  adjusted  to  guarantee  rotation  of  a 
fully  loaded  2000-ft.  reel.  There  is  thus  great  danger 
that  the  teeth  of  the  holdback  sprocket  will  tear  the 
perforations  of  the  film  at  the  commencement  of  a  run 
when  the  diameter  of  the  roll  of  film  on  the  reel  is  small. 
In  order  to  minimize  this  danger  of  damaging  expen- 
sive  film  footage,  pulleys  should  be  selected  which  im- 
part just  sufficient  rotational  speed  to  the  takeup  spindle 
to  wind  up  the  film  on  reels  having  31  ■_>  or  4-inch  hubs. 
When  this  is  done,  the  projectionist  should  instruct  his 
relief  men  never  to  use  the  small  10-inch  (1000-ft.) 
shipping  reels  in  the  lower  magazines.  To  disregard  this 
precaution  may  result  in  a  film  jam-up  or  an  ocean  of 
loose  film  on  the  projection-room  floor! 

Takeup   Power   Drive 

Most  projectors  have  the  old  familiar  pulley-and- 
belt  transmission  for  the  lower  magazine  film  takeups. 
This  type  of  transmission  is  capable  of  giving  trouble- 
free  service  only  so  long  as  the  belt  remains  tight  and 
firmh  coupled  by  a  strong,  properly  inserted  metal 
staple.  Cheap  belting  may  be  satisfactory  on  grand- 
mothers sewing  machine,  but  it  simply  is  not  good 
enough  -  not  reliable  enough  —  for  a  motion-picture 
projector  takeup. 

If  the  leather  takeup  belt  stretches,  it  will  slip  on  the 
pulleys  and  cause  the  film  to  wind  up  unevenly  —  or 
even  to  pile  up  in  the  lower  magazine,  jam  the  projector, 
Mi  ip  gears,  and  stop  the  show  for  the  rest  of  the  evening. 
\nd  if  the  belt  becomes  so  rotten  that  the  coupling  staple 
pulls  out.  the  same  dismaying  result  will  ensure  in  an 
c\  en  shorter  time! 

A    sprocket-and-chain    transmission    has    been    used 


FIG.   2 — The   enclosed   friction-disc   clutch   assembly   of 
the  Motiograph  AA  lower  magazine  takeup. 


in  the  DeVry  and,  of  course,  in  that  "Old  Reliable."  the 
Western  Electric  (ERPI)  universal  projector  base. 
Failure  of  chain  takeup  drives  must  indeed  be  very  rare, 
inasmuch  as  this  writer,  who  has  seen  just  about  every- 
thing that  can  go  wrong  in  a  projection  room,  has  never 
heard  of  such  a  thing  happening.  It  is  only  necessary  to 
inspect  the  chain  for  worn  or  weak  links  every  year  or 
two,  and  to  keep  the  chain  and  drive  sprockets  clean  and 
lightly  lubricated.  Gear  grease  should  be  used  on  chains 
— grease  heavy  and  sticky  enough  not  to  be  thrown  off 
when  the  machine  is  running. 

Among  the  many  modern  features  of  the  Philips 
Norelco  70  35-mm  projector  is  the  elimination  of  all 
takeup  belts  and  chains.  A  vertical  drive-shaft  extends 
from  the  mechanism  down  into  the  lower-magazine  com- 
partment where  the  friction-disc  clutch  is  located.  A 
universal-shaft  coupling  insures  smooth,  vibrationless 
operation;  and  simple  bevel  gears  transmit  the  rota- 
tion of  the  shaft  to  the  clutch  which  is  essentially  the 
same  as  the  type  American  projectionists  are  already 
familiar  with  in  the  Simplex  and  other  popular  ma- 
chines, and  which  is  adjusted  for  tension  in  the  same 
way. 

Individually   Motorized   Takeups 

The  Bauer  U2  and  Cinemeccanica  Victoria-X 
70  '35-mm  projectors  employ  separate  drive  motors  for 
their  takeups.  (The  two  motors  of  the  Philips  Norelco 
are  both  for  driving  the  projector,  itself,  one  motor 
being  used  for  a  film  speed  of  30  frames  per  second, 
and  the  other  for  the  standard  24- frames/sec.  rate.)  In 
the  Bauer  and  Victoria,  therefore,  there  is  no  mechanical 
connection  between  the  picture-sound  mechanism  and 
the  film  takeup. 

The  Bauer  has  an  unusual  friction-clutch  arrange- 
ment. It  is  designed  so  that  the  weight  of  the  film  roll, 
itself,  determines  the  degree  of  coupling  through  the 
clutch  —  the  more  film  on  the  lower  reel,  the  greater 
the  friction  of  the  power-transmitting  clutch.  This  is 
intended  to  ease  the  strain  on  the  film  at  the  beginning 
of  the  run,  and  yet  insure  fail-proof  rotation  of  the 
heavy  reel  as  the  showing  goes  on.  Several  other 
manufacturers  prefer  simple  arrangements. 

The  large  lever  visible  in  the  photograph  of  the 
Bauer  U2  takeup  assembly  (Fig.  6)  must  be  inserted 
in  one  of  the  five  bore-holes  in  such  a  way  that  the 
white  line  on  the  lever  stands  vertical.  In  order  to 
guarantee  non-retarded  starting  of  the  large  heavy  reels 
when  switching  the  projector  motor  on,  a  relay  switch 
magnet  drawing  its  current  supply  from  the  60-volt 
rectifier  for  the  changeover  is  momentarily  switched  in 
while  the  projector  motor  speeds  up.  The  "in-circuit 
time"  of  the  magnet  can  be  altered  at  the  slotted  brass 
pin.  on  the  delay  relay.  Although  correctly  set  at  the 
factory,  adjustment  of  this  device  has  sometimes  been 
found  necessary  to  prevent  film  breaks  in  the  lower 
magazine. 

Adjustment  of  the  tension  of  the  friction-disc  clutches 
of  both  the  Philips  Norelco  and  the  Cinemeccanica  Vic- 
toria-X is  completely  orthodox,  and  similar  to  that  of 
the  familiar  Simplex.  (The  Victoria  utilizes  a  separate 
takeup  drive  motor,  but  the  gearing  is  direct  and 
simple. )  A  small  amount  of  gear  grease  should  be  ap- 
plied to  the  takeup  drive  gears  of  the  Norelco  once  every 
three  months. 

Servicing    Simplex-Type   Takeups 

The  grimy,  maladjusted  takeup  assemblies  of  older 
projectors  are  fortunately  easily  restored  to  top-notch 
condition.  Even  if  a  takeup  unit  looks  okay  on  the 
surface,  an  overhaul  is  called  for  if  the  film  winds  up 


FIG.  4 — Closeup  of  the  Philips  Norelco  takeup  drive. 
The  friction-disc  clutch  is  geared  directly  to  the  mechan- 
ism drive.  Adjustment  is  simple,  upkeep  negligible.  Note 
the  centrifugal  governor  which  operates  a  relay  for  shut- 
ting the  projector  down  should  motor  speed  decrease 
through  failure  of  the  electric  power. 


FIG.  5 — The  Bauer  U2  70/35-mm  projector  employs 
an  independent  drive  motor  for  the  film  takeup,  thus 
eliminating  all  gearing,  pulleys,  belts,  etc.  which  would 
otherwise  be  present.  The  Cinemeccanica  Victoria-X  also 
has  a  motorized  takeup. 

International  Projectionist        November,  1963 


FIG.  6 — The  motor-driven  friction-clutch  unit  of  the 
Bauer  U2  features  a  load-dependent  friction  takeup  whose 
degree  of  coupling  is  determined  by  the  weight  of  the  reel 
itself.  This  device  assures  a  constant,  even  pull  on  the 
film. 

unevenly,  if  the  sprocket  holes  of  the  film  are  torn  when 
the  projector  3tarts  up,  or  if  the  lower  reel  fails  to 
start  turning  when  fulh  loaded  las  when  the  projector 
is  switched   on   again   after  a  shutdown    near  the   finish 

of  a   reel  I  . 

1.  Remove  the  takeup  belt. 

2.  Remove  the  loeknuts.  tension  spring,  pulles  ami 
flange,  and  friction-disc  assembh  from  the  reel- 
spindle  shaft,  and  pull  the  shaft  from  the  lower  maga- 
zine   after    loosening    the    retaining    collar. 

).  Clean  all  metal  parts  of  the  completeU  dis- 
mantled takeup  unit,  using  Carbona  (a  carbon  tet  and 
gasoline-naptha  mixture)  or  lighter  fluid  (verj  inflam- 
mable! i  to  remove  grirm  grease  and  deposits  of  dirt. 
Examine  the  slip-friction  surfaces  of  both  metal  clutch 
discs  or  flanges  to  make  sure  that  these  surfaces  are 
smooth,  i  If  they  are  scored  or  scratched,  they  must  be 
replaced  with  new   components.  I 

1.  If  the  leather  or  cork  friction  discs  are  worn  or 
damaged  in  any  way,  replace  them.  Otherwise  wash 
the  leather  disc  in  Carbona  or  lighter  fluid  to  remove 
the  oil  it  may  have  soaked  up.  Allow  to  dry.  then 
rub  one  side  only  of  the  leather  disc  with  a  very  small 
amount  of  Vaseline.  But  note  that  Motiograph  cork 
friction  discs  are  treated  differently:  they  should  be 
soaked  in  projector  oil. 

5.  Oil  the  reel-spindle  shaft  and  reassemble  the 
takeup.  Do  not  oil  the  slipping  surfaces  of  the  metal 
flan  ice-discs!  Be  careful  not  to  spill  projector  oil  upon 
the  friction  clutch  when  routinely  lubricating  the  gear 
side  of  the  projector  and  soundhead! 

6.  Examine  the  takeup  belt  carefully.  If  rotten, 
grease-soaked,  or  frayed   in  the  vicinity  of  the  coupling 


staple,  replace  it  with  new  leather  belting  of  the  best 
quality  obtainable.  Never  use  belts  made  up  of  several 
leftover  ends  of  belting — no  more  than  one  staple  should 
be  present  in  a  belt! 

7.  With  a  sharp  awl.  punch  the  holes  to  receive  the 
the  coupling  staple.  Try  the  belt  on  the  machine  to 
see  if  it  is  really  tight.  If  not  tight  enough,  remove 
the  staple,  cut  off  a  small  section  from  one  end  of 
the  belting,  and  punch  a  new  hole  for  the  staple.  The 
takeup  belt,  we  repeat,  must  be  very  tight,  and  the  taut- 
ness  checked   from  time  to  time. 

o.  Loosen  the  set-screw  of  the  locknut  on  the  end 
ol  the  spindle  shaft  and  adjust  the  tension  spring  so 
that  a  full  reel  of  film  of  the  largest  size  used  in  the 
projector  starts  turning  the  moment  the  projector  motor 
is  -witched  on.  But  test  the  revolving  reel  of  film  by 
holding  it  back  from  turning  with  the  finger  in  order 
to  guard  against  excessive  tension  which  could  easily 
tear  the  sprocket  holes  of  the  film.  Not  too  much  force 
should  be  necessary  to  restrain  the  reel  while  the  pro- 
jector  is   running. 

Adjustment  ol  the  friction-clutch  tension  spring 
is  essentially  the  same  for  the  Simplex.  Wenzel.  ERPI 
universal  base.  Motiograph.  Philips,  and  many  other 
popular  makes  of  projector.  When  the  tension  spring 
i-  correctly  adjusted,  the  film  winds  up  uniformly. 
\et  with  just  sufficient  "looseness"  of  the  roll  to  be 
detected  when  the  roll  is  pressed  in  from  opposite  sides 
with   the  fingers. 

9.  \\  hen  the  takeup  tension  is  at  last  just  right. 
tighten  the  set-screw  of  the  split  locknut  securely.  Many 
projectionists  use  two  loeknuts  on  the  spindle  shaft  for 
extra  safety.  At  any  rate,  it  is  a  good  idea  to  have  a 
lew  extra  loeknuts  in  the  spare  parts  cabinet. 

Holdback    Sprocket    Important 

\  "singing  holdback  sprocket  is  commonly  attri- 
buted to  excessive  takeup  tension  which  pulls  the  film 
too  taut  between  the  sprocket  and  the  reel.  This  is 
true:  but  worn  holdback  sprocket  teeth  will  also  cause 
a  loud  buzzing  noise  and  chip  or  tear  the  film  perfora- 
tions. 

It  has  been  the  writer's  experience  that  some 
"singing  of  the  holdback  sprocket  of  the  venerable 
old  KRPI  universal  base  is  normal  even  when  takeup 
tension  is  correct  and  the  sprocket  teeth  are  in  good  con- 
dition. This  sprocket,  by  the  way,  is  located  in  the 
lower-magazine  compartment,  not  in  the  soundhead 
when  the  old-style  gate-type  Western  Electric  soundhead 
is  used  on  the  universal  base. 

W  hen  checking  the  condition  of  the  teeth  of  the 
holdback  sprocket,  remember  that  it  is  their  upper  edges 
which  become  hooked  or  undercut — this  sprocket  does 
not  pull  the  film  down,  but  literally  holds  it  back 
and  takes  all  the  strain  imposed  by  the  tension  of 
the  takeup  friction  clutch.  It  restrains  the  speed  at 
which  the  lower  reel  turns. 

The  bad  effect  on  the  film  of  excessive  takeup  ten- 
sion or  worn  holdback-sprocket  teeth  can  be  seen  by 
examining  the  perforations  anywhere  in  the  first  25 
feet  or  so  of  a  reel  which  has  been  run  through  the 
projector.  Holding  the  film  so  that  the  tiny  pictures 
appear  right-side-up.  and  using  a  magnifying  glass, 
note  the  position  of  any^  cracks  or  tears  present  in  the 
edges  and  corners  of  the  sprocket  holes.  Cracks  at  the 
tops  of  the  perforations  (pulldown  edge)  are  usually 
caused  by  worn  intermittent-sprocket  teeth  and  /or 
excessive  gate  tension.  Cracks  at  the  bottoms  of  the 
perforations  (holdback  edge)  are  caused  by  worn  hold- 
back-sprocket  teeth   and /or  excessive  takeup  tension. 


International  Projectionist 


November.  1963 


It  ShOllldn'f  happen  tO  a  dOg  ...  or  cat  for  that  matter  But  it  does  -  all  too 
often!  Someone  gets  behind  schedule— feels  that  he  has  to  cut  corners.  Result:  dull,  "tired" 
prints,  even  though  the  original  negatives  were  top  quality.  Fact  is,  with  a  crisp,  sparkling  negative, 
anything  less  than  the  best  is  a  waste  of  time  and  money.  That's  why  it  pays  to  GO  EASTMAN  all 
the  way— negative  and  print-stock.  And  in  the  case  of  questions— production,  processing,  projection 


—always  call  Eastman  Technical  Service.  For  more  information  write  or 
phone:  Motion  Picture  Film  Department,  EASTMAN  KODAK  COMPANY, 
Rochester  4,  N.  Y.  Or— for  the  purchase  of  film:  W.  J.  German,  Inc.  Agents 
for  the  sale  and  distribution  of  EASTMAN  Professional  Film  for  Motion 
Pictures  and  Television,  Fort  Lee,  N.  J.,  Chicago,  III.,  Hollywood,  Calif. 


EASTMAN  FIL 


On  The  Cover: 

Frank  Hauss  and  Allen 
Haitss  in  the  projection 
room  of  the  Community 
Th  eatre. 


The  Cover  Story  . . . 

Professional  Skills,  Modern  Equipment  Make 
Walter  Reade  Theatre's  Screen  Lighting  Tops 


In  the  projection  room  of  the  new 
Walter  Reade  Community  Theatre. 
Cherry  Hill.  N.  J.,  there  is  a  com- 
bination of  professional  skills  and 
modern  screen  lighting  equipment 
which  is  unique. 

Our  cover  photo  starts  a  very  in- 
teresting story.  Frank  Hauss,  busi- 
ness manager  of  Local  418,  Camden. 
N.  J.,  and  his  son,  Allen,  are  the 
projectionists  in  this  newest  of  Wal- 
ter Reade  Theatres.  Father-and-son 
projectionists  on  the  same  job  is  not 
a  new  situation,  but  when  Ashcraft 
Core-Lite  arc  lamps  are  added,  the 
result  is  a  combination  of  profes- 
sional skills  and  modern  equipment. 

Projection  conditions  at  the  Com- 
munity are  not  ideal.  The  picture  is 
large  and  the  projection  distance  is 
short  and  when  such  conditions  exist, 
problems  develop.  Very  short  focal 
length  lens  must  be  used  with  all 
their  attendant  faults.  Screen  light- 
ing and  other  projection  problems  at 
the  Community  were  overcome 
through  the  use  of  new  Ashcraft 
Core-Lite  arc  lamps. 

214"  E.  F.  Kollmorgen  Super- 
Snaplite  F:1.7  X  lenses  are  used  on 
the  flat  or  wide  screen  picture  and 
•  >1i"  Kollmorgen  Super-Snaplite 
F:1.9  lenses  are  used  as  backup 
lenses  for  CinemaScope. 

The  secret  of  the  light-making 
capabilities  of  the  Core-Lite  arc 
lamp  is  in  optical  projection  dis- 
tances. 6-5/8"  to  6-13/16"  is  the  pre- 
scribed distance  from  the  positive 
carbon  crater  to  the  rear  surface  of 
the    reflector     (depending    upon    the 

10 


focal  length  of  projection  lenses.) 
29-1/2"  is  the  prescribed  distance 
from  the  rear  surface  of  the  reflec- 
tor to  the  aperture  plate.  A  16" 
diameter  reflector  is  used  because  a 
reflector  of  larger  diameter  is  neith- 
er needed  nor  optically  necessary  at 
these  operating  distances  which  are 
exclusive  with  Ashcraft  Core-Lite 
arc  lamps. 

"We  are  proud  of  the  new  Ash- 
craft Core-Lite  arc  lamps."  said 
Frank.  "'They  are  fine  new  modern 
tools  in  the  hands  of  the  projection- 
ist in  his  never-ending  effort  to  put 
a  better  picture  on  the  screen  for 
the  added  entertainment  of  the  the- 
atre patron  and  satisfaction  of  the 
owners." 

Frank  further  commented:  "These 
new  arc  lamps,  with  our  new  Simplex 
XL  projectors  and  Simplex  XL  all- 
transistor  sound  system  form  a  fine 
combination  of  everything  that  is 
needed  to  deliver  the  absolute  best 
in  sight  and  sound  entertainment  to 
our  patrons  free  from  all  interfering 
mechanical   and   audio   faults." 

The  complete  equipment  installa- 
tion was  made  by  the  Philadelphia 
office  of  National  Theatre  Supply 
Co.  under  the  supervision  of  Bill 
Hutchins.  manager,  and  Mickey 
Lewis,  installation  engineer.  Frank 
and  Allen  Hauss  assisted  in  the  in- 
stallation. 

Frank  states  that  a  Cinemascope 
picture,  40  feet  wide  is  projected 
with  a  back-up  lens  of  only  3%  in. 
and    a    flat    picture   of   30   feet   wide 


needs  only  a  2*/>  in.  lens.  He  com- 
pliments the  Walter  Reade  Circuit 
for  equipping  this  theatre  with  most 
modern  light  producing  systems 
which  enable  patrons  to  see  pictures 
as  perfectly  as  they  are  photograph- 
ed  in   Hollywood   studios. 

In  case  there  are  readers  who  are 
not  yet  familiar  with  a  few  of  the 
outstanding  features  of  the  Ashcraft 
Core-Lite,  we  herewith  briefly  out- 
line some.  The  Core-Lite  is  a  35mm 
projection  lamp  into  which  is  incor- 
porated an  entirely  new  optical  sys- 
tem that  can  be  integrated  with  the 
projection  lenses  now  being  used. 
Because  the  particular  shape  of  the 
Core-Lite  conical  light  beam  elimi- 
nates the  losses  in  your  lenses  due  to 
vignetting,  the  light  on  the  sides  of 
the  screen  is  increased  to  any  degree 
desired. 

It  is  also  designed  to  use  only  one 
size  positive  carbon,  the  11mm  x 
17%  inch  high  intensity  carbon 
combined  with  the  5/16  x  9  inch 
negative  projection  carbon  which  is 
operated  at  recommended  current 
range  of  72  to  95  amperes.  Because 
of  these  and  other  important  fea- 
tures it  burns  the  carbon  slower  and 
eliminates  projection  losses.  It  also 
reduces  the  carbon  consumption  and 
use  of  high  speed  lenses.  Besides 
the  present  National  Projector  Car- 
bon other  firms  will  soon  make 
available  suitable  carbons  for  Core- 
Lite.  Both  Ashcraft  mirrors  and  rec- 
tifiers are  recommended  for  use  with 
any  Core-Lite  projection  arc  lamp 
system.  iP 

International  Projectionist        November.  1963 


Wicker  Elected 
TEDA  Prexy  At 
N.Y.  Convention 

\K\\  YORK— L.  Phi]  Wicker  01 
Greensboro,  Y  C,  was  elected  presi- 
dent  of  Theatre   Equipment    Dealers 

\~-n.  (TEDA)  at  its  annual  meet- 
ing held  in  conjunction  with  the 
TEDA-TESM  V-\  \C  trade  show  at 
the  Theatre  Owners  of  America  con- 
vention in  the  \mericana  hotel  here. 

Officials  announced  that  thej  were 
pleased  at  the  show  attendance  and 
at   the  turnout   of  members,   (H)   per 

cent  t>f  whom  were  present.  It  was 
believed  to  indicate  that  theatre  busi- 
ness.  slow  for  several  years,  had 
turned  the  corner  and  was  headed 
for    better    linn-. 

Elected  to  serve  with  Wicker  were 
Lloyd  ('.  Pearson,  Toronto,  Canada, 
vice  president:  and  Boh  I  ankerslev . 
Denver.  Colo.,  secretary-treasurer. 

Kiei  ted  to  the  hoard  of  director- 
were  Tom  Shearer,  Seattle.  Wash.: 
George  Hornstein,  New  York;  Hal 
Hornstein,  Miami:  Charles  C. 
Creamer.  Minneapolis,  Minn.:  Louis 
M.  \\  utke.  Los  \n«elt's:  J.  H.  Klder, 
Dallas,  lex.:  Spero  Kontos,  I  .os 
Vngeles.  M  Boudouris  of  Toledo. 
O..  was  assigned  to  membership 
and  liaison.  iP 


'Golden  Hot-Shot'  Added 
As  EPRAD  Heater 

TOLEDO.  OHIO— Drive-in  the- 
atre viewing  in  cold  weather  has  an- 
other heater  entrant  with  the  intro- 
duction of  the  new  Golden  Hot-Shot 
electric  in-car  heater.  made  l>v 
LPRAD  Co. 

The  Golden  Hot-Shot  will  make 
the  average  automobile  warm  and 
comfortable  in  60  seconds,  accord- 
ing to  LPRAD  engineers.  It  is  de- 
signed to  be  placed  on  the  floor  ol 
the  car  to  allow  an  unobstructed  \  iew 
of  the  screen. 

The  new  heater  is  constructed  ol 
stainless  steel  and  aluminum  to  re- 
sist rust  and  corrosion.  V  heavy-dut) 
General  Electric  heating  element  i- 
said  to  provide  safe,  reliable  heat. 
Designed  bv  General  Electric's  In- 
dustrial Heating  Department.  ol 
Shelbwille.  hid.,  the  corrosion  re- 
sistant Inconel  tubular  healing  ele- 
ment i>  sealed  with  silicone  to  pre- 
vent the  entry  of  moisture  even 
under  the  most  adverse  weather  con- 
dit  ions. 

I  isted  bv  I  nderw  riters  I  abon- 
tories,  Inc.  and  Canadian  Standards 
Association,  the  (.olden  Hot-Shot 
electric  heatei  incorporates  a  louvred 
design  so  that  the  movie-goer  can 
no!  accidentally,  touch  the  heating 
element,   according   to  the  companv 


Nicholas  George,  owner  of  the  Jolly  Roger  Drive-In  theatre,  Dearborn, 
Michigan,  one  of  the  Nicholas  George  theatres,  is  shown  with  Fred  Warendorp, 
projectionist,  admiring  their  new  Constellation  projection  arc  lamp  and  Strong 
Bi-Powr  rectifier. 


FROM  EVERY  ANGLE 


BI-POWR 

A  new  type  silicon  diode  stack  transformer 
rectifier  designed  as  a  power  source— 

FOR  THE  OPERATION 
OF  2  ARC  LAMPS 


••• 


« 


DUAL  OUTPUT  RATING  OF: 

60-85/60-85  AMPS/35-45  VOLTS 

90-135/90-135  AMPS/56-70  VOLTS 

120-160/120-160  AMPS/58-75  VOLTS 

SAVES  ON  INITIAL  COST! 

Sells  for  15%  less  than  two  of  the  lowest  priced 
90-135  ampere  rectifiers,  and  costs  less  to  install. 
Requires  only  one  line  service.  Built  for  extremely 
long  life.  Class  H  glass  insulated  transformers. 

SAVES  ON  OPERATIONAL  COST! 

Greater  efficiency  than  selenium  rectifiers  and 
previous  silicon  types. 

SAVES  ON  SPACE 

Requires  one-third  to  one-half  less  floor  space 
than  two  separate  rectifiers  spaced  for  proper 
ventilation. 


THE 


Send  for  literature. 


ELECTRIC  CORP. 


31    CITY    PARK    AVENUE 
TOLEDO      1,      OHIO 


International  Projectionist         November.  1963 


11 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING    DEVICES 

VALLEN,  Inc. 

AKRON  4,  OHIO  . 


Norelco 

projection 
equipment- 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment    Division 
100    E.  42nd   St.,    New  York    17,  N.Y. 


The   Concord   Theatre's   Projection    Room 

Miami's  Concord  Theatre  Combines 
Comfort  for  Patrons  Projectionists 


;:Vii:::v::^:p^:;-^S: 

".'■;.';'':■'■ 


:■ 


;™# 


;d:: 


: 


^    ■ 
: 

■ 

M', 


in  one  package 

LEASE   FINANCE    PLAN 

TECHNICAL   PLANNING 

TOP   GRADE   EQUIPMENT 

THAT  INCLUDES   NORELCO   PROJECTORS 


Soundheads  —  Lamps  —  Projectors  —  Amplification  Speakers  —  Seating  —  Screens 
Screen  Towers  —  Carpets  —  In  A  Car  Speakers  —  In-A-Car  Heaters. 

Now  you  can  finance  new  theatre  equipment  —  remodel  or  replace  outmoded  equip- 
ment in  your  present  one  all  with  the  same  company.  No  need  to  purchase  part  of  the 
equipment  from  one  company,  have  it  installed  by  another,  and  serviced  by  a  third. 
Ballantyne  technicians  handle  your  theatre  work  from  start  to  finish.  And  saves  you 
money.  //^^f. 

3  lis  n  tyn  e 


Instruments  and  Electronics,  Inc. 

1712  JACKSON  ST.  OMAHA,  NEBRASKA  68102 
A  DIVISION  OF  ABC  VENDING  CORPORATION 


MM.  - ' 


12 


a  division  of  abc  vending  corporation 

Intern 


Miami,  Fla. — The  new  Concord 
Theatre  here  is  operated  by  the 
Town  &  Country  Theatres.  Glen 
Cove,  L.  I.,  N.  Y. 

The  Concord  has  1,100  seating  ca- 
pacity and  the  cost   of  the  building 
was    $300,000    and   the   cost    of   the 
I      equipment  was  approximately  $100.- 

1      °00- 

Joe    Hornstein,    Inc.,    of    Florida. 

I      equipped   the   Concord  Theatre. 

The  projection  booth  is  equipped 
I      with     Century     water-cooled    projec- 
tors,   and    a    Century    dual    channel 

■  transistorized    sound     system;     Ash- 

■  craft    Cine   water-cooled    high    inten- 
I      sity   lamphouses   and   three  Ashcraft 

No.  1412  rectifiers;  B  &  L  F:1.8 
lenses  of  focal  length  of  50  ft.  wide 
CinemaScope  picture,  and  42  ft.  flat 
picture  on  Tecknikote  XR-171  Pearl- 
escent  screen;  film  handling  equip- 
ment by  Neumade  and  Goldberg 
with  Best  Devices  port  shutters  and 
controls. 

Also.  Joe  Hornstein  furnished  the 

■  wall  treatment  of  fluted  Fiberglas 
to  serve  acoustical  and  decorative 
purposes.  The  stage  treatment  is  a 
special  Austral  shade  lift  curtain 
of  gold  Fiberglas  with  side  legs 
trimming  the  curtain  in  turquoise 
Fiberglas  with  heavy  duty  A.D.C. 
control  equipment. 

Specially   designed   footlights  with 

national  Projectionist        November,  1963 


three  different  colors  accent  the 
curtain  treatment,  on  dimmer  ar- 
rangements, which  also  control  spe- 
cial hanging  lighting  fixtures  of 
modern  design  as  well  as  recessed 
concealed  house  lights,  also  con- 
trolled In  the  special  dimmers  for 
lighting  intermissions  and  for 
dimmer  operation. 

The  carpet,  furnished  h\  Horn- 
stein,  is  a  -|>ccial  all  wool  with  a 
turquoise  ground  and  gold  and  black 
splash   accent. 

The  marquee  attraction  letters  arc 
\dler.  three  dimension,  IT  in.  in 
black   and    red. 

Vnother  innovation  at  the  Con- 
cord Theatre  i-  the  specially  taped 
music  public  address  h\  Hal  Horn- 
stein,  which  is  located  in  the  man- 
ager's office.  with  speakers  in 
the  ceiling  of  the  marquee  and  lobb) 
to  entertain  the  hold-back  crowds  in 
the  expansive  lohln  with  music 
while  awaiting  the  break  in  the  show. 
as  well  as  for  the  convenience  of 
switching  i>\.t  the  public  address 
bj   the  manager  to  control  traffic. 

I  con  Miller  of  New  York  was  the 
architect.  The  electrical  and  techni- 
cal design  In  \.  Marglin.  The  entire 
supervision  of  installation  and  engi- 
neering l>\  Hal  Hornstein  of  foe 
Hornstein,  Inc.  The  Concord  Theatre 
has  parking   for  2,000  cars.  iP 

New  Brochure 

\  new  light  source  for  16mm  and 

35mm  motion  picture  projection  is 
described  and  illustrated  in  detail  in 
a  new  brochure  now  available  from 
the  Str<  ng  Electric  Corp. 

This  lamphouse,  known  as  the 
\-lo.  utilizes  an  Osram  Xenon  bulb 
to  produce  a  uniform  white  light 
comparable  to  carbon  arc  lighting. 
Three  models  for  16mm  projection 
are  rated  at  ISO,  ()00  and  1600  watts. 
For  screens  up  to  21-feet  wide,  and 
three  models  for  35mm  projection  are 
rated  at  900.  1600  and  2500  watts  for 
screens  up  to  36-feet  wide.  This  light 
source  requires  practically  no  atten- 
tion by  the  operator. 

There  are  no  moving  parts  and  the 
complete  absence  of  dirt  assures 
longer  projector  life.  The  operating 
costs  are  about  the  same  as  for  those 
of  carbon  arcs  projecting  an  equal 
amount  of  light.     \  copj   of  the  bro- 


chure will  be  sent  to  anyone  address- 
ing a  request  to  the  Strong  Electric 
Corp.,  31  City  Park  Avenue.  Toledo. 
Ohio.  43601.  '  iP 

Hornstein  Furnishes 
Nassau  Theatre 
Projection  Equipment 

NASSAU,  B.  YV.  I.  —  The  new 
Shirley  Street  Theatre  has  a  10  ft. 
wide  screen,  and  uses  Strong  X-16 
2501)  watt  Xenon  lamps.  Joe  Horn- 
stein. Inc..  of  \ew  York,  furnished 
the  equipment  and  stage  draper) 
treatment. 

The  Shirle\  Street  Theatre  is 
equipped  with  Centurj  Projection 
and  Centurj  transistorized  sound 
equipment;  Hausch  &  Lomb  lenses; 
Strong  rectifiers.  and.  as  noted 
above,    Strong    Xenon     lamphouses. 

Engineering  and  supervision  of 
the  installation  was  bj  Hal  Horn- 
stein  ol   Joe   Hornstein.    Inc.  iP 

XeTRON  Officials 
Show    "Break-Thru" 

New      York  The     XeTRON 

booth,  at  the  recent  TO  V  trade  show, 
had  a  big  sign:  ""Break- Thru."  an- 
nouncing the  \RO  ().">()  )\\  high  pres- 
sure Xenon  discharge  lamp.  I  Xe- 
I  HON  is  a  di\  ision  of  ( larbons, 
Inc.  I. 

Edward  Lachman,  president  of  the 
parent  company,  and  Frank  II.  Rif- 
fle,  general    manager   of    XeTRON, 

explained  to  the  exhibitors  the  de- 
tails of  the  6500\K    Xenon. 

Features  of  the  high  pressure 
(>.">(  )()\\  Xenon  are  the  constant  lu- 
men output:  a  light  that  resembles 
natural  daylight,  having  a  color 
temperature  of  approximate!)  6000° 
K:  independent  of  variations  in  the 
suppl\  of  voltage,  which  remains  un- 
changed even  when  the  light  output 
i>    being    regulated. 

The  bods  of  the  XBO  Xenon  lamp 
consists  of  an  ellipsoidal  shaped 
discharge  vessel  centered  along  the 
axis  and  containing  the  opposing 
electrodes.  Both  ends  of  the  lamp  are 
fitted  with  cylindrical  caps  which  are 
provided  with  prefocus  pins.  A  spe- 
cial igniter  is  required  ( approxi- 
mately 50  KV  pulse.  200  amp  capa- 
city I.  XBO  Xenon  requires  DC 
power.  iP 


PROJECTIONISTS 
PREFER 

ETHYLOID 

Film  Cement  For 
BEST  RESULTS 

Available  from 
Supply  dealers 

FISHER  MFG.  CO. 

1185  Mr.   Read  Blvd. 
Rochester,  N.Y. 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF   CARBON  CORP.    East  McKeesport.  Pa 


ASHCRAFT 

CORE-LIGHT 

SUPER  CINEX 

CINEX  SPECIAL 

PROJECTION  LAMPS 

And 

HIGH  RECTANCE 

MULTI-PHASE 

RECTIFIERS 

World's  Standard  of 
Projection  Excellence 


CARBON  ARCS   .   .   .   for  finest  Projection   .   .   .   Compact  Xenon  Arcs 


JtowuUne  Anc  GgaMg*U 


MM 
•  Brighter  Light  on  Screen 

*  Longer  Burning  per  Carbon 

•  More  Economical  ...  / 


CARBONS.   INC. 


vmoss 


products 


rrxosf  LAMPHOUSES  •  X*r*iosr  POWER  SUPPLIES 

by  Cinemeccanica  by  Christie 


BOON  TON,   N.J. 


International  Projectionist        November.  1963 


Century  Introduces 
Acoustic  Compensator 

NEW  YORK— Century  Projector 
Corp.  has  introduced  what  is  said  to 
be  an  entirely  new  device  to  provide 
motion  picture  theatres  with  a  fast 
and  accurate  means  of  adjusting  the 
frequency  characteristics  of  multiple 
channel  theatre  sound  systems  for 
the  best  possible  sound  reproduc- 
tion. 

The  device,  called  by  its  manu- 
facturer the  Century  Acoustic  Com- 
pensator, is  engineered  and  designed 
as  a  fully  contained,  compact  unit, 
has  no  insertion  loss,  nor  does  it  re- 


PROJECTIONISTS  WANTED! 

National  Sound  Service  Co. 
will  interview  competent  IATSE 
personnel  for  position  as  Field 
Service  Men  in  theatrical  and 
industrial  field.  Send  letter  to: 
Box  410,  International  Projec- 
tionist, 545  5th  Ave.,  New  York 
17,  N.  Y. 


quire  changes  in  system  gain  or 
amplification,    the    company    states. 

It  can  be  added  to  practically  any 
multi-channel  sound  system. 

Century  states  in  its  supplied  tech- 
nical information  that  1)  the  input 
is  a  bridging  type  having  an  imped- 
ance of  about  100,000  ohms  (IK). 
It  will  therefore,  connect  to  most 
pre-amplifier  outputs.  2)  The  output 
is  high  impedance  and  will  connect 
to  the  input  of  power  amplifiers  hav- 
ing input  impedances  of  1000  ohms 
or  higher.  The  output  will  simulate 
the  output  of  the  average  pre-ampli- 
fier. 3)  it  can  be  used  at  a  remote 
distance  ( in  the  auditorium)  by  us- 
ing shielded  cables  for  the  connec- 
tions. IP 

JOHN   STRADCUTTER   DIES 

MINNEAPOLIS— John  Stradcut- 
ter,  54.  projectionist  at  the  Belle 
Plaine.  Minn.,  theatre,  was  killed  by 
an  automobile  on  Highway  169  near 
Le  Sueur.  Minn.  Investigation  show- 
ed that  Stradcutter  walked  into  the 
side  of  a  car  driven  by  a  Chaska. 
Minn.,  man.  iP 


n 


WHY  WASTE  CARBONS? 

Use  The  "Master  Saver  Device 

Reduce  your  projection  carbon  cost  by  adopting  the  MASTER 
CARBON  SAVER  (designed  by  a  pioneer  IATSE  projectionist.) 
The  only  simple  and  accurate  saver  on  the  market  with  no 
springs,  screws,  nuts  and  bolts  and  requires  no  carbon  grind- 
ing. Each  carbon  held  by  "Precision  Taper"  after  stub  is  easily 
tapped  into  saver.  There  is  a  "MASTER"  saver  for  every  type  of 
Suprex  non-rotating  or  rotating  arc  lamp.  Now  being  used  by 
hundreds  of  theatres  on  STRONG,  ASHCRAFT,  PEERLESS,  etc.; 
sizes  6-7-8-9-10-llmm,  $3.50  each;   13.6mm,  $4.50  each. 

SOLD   BY   YOUR   LOCAL  SUPPLY   DEALER 

Manufactured   by 

MASTER  SPECIALTY   PRODUCTS 

200   West   72nd   St.,    New   York    23,    N.    Y. 


INTERNATIONAL  PROJECTIONIST 

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14 


ACTS    OF    MARCH    3,    1933,    JULY    2,    1946 
MENT,    AND    CIRCULATION    OF 

STATEMENT  REQUIRED  BY  THE  ACT  OF 
AUGUST  24,  1912,  AS  AMENDED  BY  THE 
AND  JUNE  11,  1960  (74  STAT.  208) 
SHOWING      THE     OWNERSHIP.      MANAGE- 

INTERNATIONAL     PROJECTIONIST 
Published  monthly  at  Main   Postoffice.  Min- 

neapo'is,    Minnesota    for    November,    1963. 

1 .  The  names  and  addresses  of  the  pub- 
lisher, editor,  managing  editor,  and  business 
managers  are: 

Publisher,  frank  W.  Cooley.  Jr.,  Min- 
neapolis,    Minn. 

Editor  Frank  W.  Cooley,  Jr.,  Minneapolis, 
Minn. 

Managing  editor,  Ray  Gallo,  New  York, 
N.    Y. 

Business   manager,    None. 

2.  The  owner  is:  (If  owned  by  a  corpora- 
tion, its  name  and  address  must  be  stated  and 
also  immediately  thereunder  the  names  and 
addresses  of  stockholders  owning  or  holding 
1%  or  more  of  total  amount  of  stock  If  not 
owned  by  a  corporation,  the  names  and  ad- 
dresses of  the  individual  owners  must  be 
given.  If  owned  by  a  partnership  or  other 
unincorporated  firm,  its  name  and  address, 
as  well  as  that  of  each  individual  mem- 
ber,    must     be    given.) 

Northern  Publishing  Co.,  Minneapolis,  Minn. 
Frank    W.    Cooley,    Jr.,    Minneapolis,    Minn. 
Rita     Cooley,     Minneapolis,     Minn. 

3.  The  known  bondholders,  mortqaaees,  and 
other  security  holders  owning  or  holding  1  % 
or  more  of  total  amount  of  bonds,  mort- 
gages, or  other  securities  are:  (If  there  are 
none,     so     state.)     None. 

4.  Paragraphs  2  and  3  include,  in  cases 
where  the  stockholder  or  security  holder  ap- 
pears upon  the  books  of  the  company  as 
trustee  or  in  any  other  fiduciary  relation, 
the  name  of  the  person  or  corporation  for 
whom  such  trustee  is  actina:  also  the  state- 
ments in  the  two  paragraphs  show  the  af- 
fiant's full  knowledge  and  belief  as  to  the 
circumstances  and  conditions  under  which 
stockholders  and  security  holders  do  not 
appear  upon  the  books  of  the  company  as 
trustees,  hold  stock  and  securities  in  o 
capacity  other  than  that  of  a  bona  fide 
owner. 

5.  The  average  number  of  copies  of  each 
issue  of  this  publication  sold  or  distributed, 
throuqh  the  mails  or  otherwise,  to  paid  sub- 
scribers durina  the  12  months  precedinq  the 
date  shown  above  was:  (This  information  is 
reauired  by  the  act  of  June  11.  1960  to  be 
included  in  all  statements  regardless  of  fre- 
quency  of    issue.)     5,925. 

F.    W.    COOLEY,    JR. 
Sworn     to    and    subscribed    before    me    this 
8th   dny    nf   OctobP'     1°*-' 

THEODORE    GLAROS 
Notary    Public,    Hennepin    County.    Minn. 
My  Commission   Expires  Sept.  23,   1969. 

International  Projectionist        November,  1963 


» AUTHORITATIVE 
» COMPREHENSIVE 


» 


PRACTICAL 


Acclaimed  by  leading  technicians  in 
the  industry  as  the  most  comprehen- 
sive and  down-to-earth  handbook  pub- 
lished to  date  on  the  subject  of  motion 
picture  projection.  Ideally  suited  for 
study  and  reference  by  your  opera- 
tors. 


ROBERT  A.  MITCHELL'S 


MANUAL  OF  PRACTICAL  PROJECTION 


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CROSS      INDEXED      FOR      EASY      REFERENCE 


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exhausted  —  when  the  present  supply  is  gone,  there  will  be  a  ONE-YEAR  wait  until  the 
new   edition   is   prepared.     Get   your   copy    now   at   the    low   price   of   seven    dollars,    postpaid. 


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SECTION      HEADINGS 


(1)  Film;  (2)  The  Projector;  (3)  Projection-Optics,  Screens;  I4j  The  Arc  Lamp; 
(5)  General  Projection  Practice;  (6)  Motors,  Generators,  and  Rectifiers;  (7) 
Sound    Reproduction    Systems;    (8)    Projection    of   Color   and   3-D    Films,    Formulas. 


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A  Scene  From  America's  Projector  Carbon  Center... 


Equipment  for  coating  carbons  with  copper 


it, 


Coating'  projector  carbons  with  the  right  amount 
of  copper  is  a  top-billing  production  step" 


(     ) 


This  equipment  performs  the 
important  task  of  coating  pro- 
jector carbons  with  copper— not 
for  eye  appeal,  but  for  the  vital 
purpose  of  assuring  more  de- 
pendable screen  lighting.  The         s;a  Moriey 
coating  helps  conduct  current  from  the  jaws  of 
the  lamp  to  the  arc.  For  maximum  light  effi- 
ciency the  copper  coating  must  be  of  precision 
thickness  —  no  more  —  no  less ! 

From  the  coating  operation  at  National  Car- 
bon's plant  in  Fostoria,  Ohio,  projector  carbons 
move  on  to  an  automatic  resistance  test,  where 
a  direct  reading  instrument  measures  in  ohms- 


-says  SID  MORLEY 

National  Carbon  Sales  Engineer 

per-inch  the  coating  on  each  carbon.  If  the  coat- 
ing is  too  thin  or  too  thick,  the  unwanted  carbon 
is  ejected  from  the  line. 

How  is  this  rigid  test  related  to  good  fighting? 
First,  if  the  coating  is  too  thin,  the  carbon  might 
spindle  back  to  the  holder,  resulting  in  freezing 
and  a  possible  lamp  shutdown.  Secondly,  if  too 
thick,  it  might  produce  copper  dripping  and 
cause  the  arc  to  wander. 

In  coating  and  all  other  manufacturing  steps, 
National  Carbon  utilizes  today's  most  reliable 
quality  control  methods.  We  want  to  be  sure 
your  patrons  get  the  finest  screen  lighting  that 
projector  carbon  money  can  buy ! 


Contact 
Mr.  National  Carbon 


UNION 
CARBIDE 


"National"  and  "Union  Carbide"  are  registered  trade-marks  for  products  of 

NATIONAL  CARBON   COMPANY 

Division  of  Union  Carbide  Corporation  •  270  Park  Avenue  •  New  York  17,  N.  Y. 
In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL 


KODAK  MODEL  —  Sur- 
rounded by  film  packages,  Sue 
Smith,  Eastman  Kodak  film- 
testing  model,  shows  a  winning 
smile.  Her  job  is  posing  for 
pictures — more  than  70,000 
stills  and  150,000  feet  of 
movie  film  a  year — to  make 
her  the  leading  candidate  for 
the  title  of  world's  most  photo- 
graphed girl.  She  works  at 
Kodak  Park  in  Rochester,  N.Y. 
(See  Cover  Story,   page    11.) 


DECEMBER 
VOLUME  38 
40c  A  COPY 


1963 

NUMBER  12 

$3.00  A  YEAR 


A  Scene  From  America's  Projector  Carbon  Center... 


..    "^iitfc'io5."«:,LJ  ;■.  ;,*■    ■■         .'.i_i,w,;,.,,.      -,,..     '.    ...     ■:.    ». .i. 


Equipment  for  coating  carbons  with  copper 


Coating  projector  carbons  with  the  right  amount 
of  copper  is  a  top-billing  production  step" 


Sid  Morley 


This  equipment  performs  the 
important  task  of  coating  pro- 
jector carbons  with  copper— not 
for  eye  appeal,  but  for  the  vital 
purpose  of  assuring  more  de- 
pendable screen  lighting.  The 
coating  helps  conduct  current  from  the  jaws  of 
the  lamp  to  the  arc.  For  maximum  light  effi- 
ciency the  copper  coating  must  be  of  precision 
thickness— no  more— no  less! 

From  the  coating  operation  at  "America's 
Projector  Carbon  Center"  in  Fostoria,  Ohio, 
National  carbons  move  to  an  automatic  resist- 
ance test,  where  a  direct  reading  instrument 


-says  SID  MORLEY 

"National"  Sales  Engineer 

measures  in  ohms-per-inch  the  coating  on  each 
carbon.  If  the  coating  is  too  thin  or  too  thick, 
the  unwanted  carbon  is  ejected  from  the  fine. 

How  is  this  rigid  test  related  to  good  fighting? 
First,  if  the  coating  is  too  thin,  the  carbon  might 
spindle  back  to  the  holder,  resulting  in  freezing 
and  a  possible  lamp  shutdown.  Secondly,  if  too 
thick,  it  might  produce  copper  dripping  and 
cause  the  arc  to  wander. 

In  coating  and  all  other  manufacturing  steps, 
National  carbons  are  produced  by  today's  most 
reliable  quality  control  methods.  We  want  to 
be  sure  your  patrons  get  the  finest  screen  light- 
ing that  projector  carbon  money  can  buy ! 


UNION 
CARBIDE 


National"  is  a  registered  trade-mark  of 


UNION  CARBIDE  CORPORATION 

CARBON  PRODUCTS  DIVISION 

270  Park  Ave.,  N.  Y.,  N.  Y.  10017  •  In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL 

PROJECTIONIST 

Including  a  special  Audio-Visual  section  relat- 
ing to  the  operation  and  maintenance  of  A-V 
equipment  in  the  educational  and  industrial 
fields. 


Volume   38        December,    1963         No.    12 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 

RAY  GALLO  ASSOCIATES 

National  Advertising  Representatives 

545  Fifth  Avenue,   New  York    17,   N.   Y. 

Telephone    Murrayhill    7-7746 

(Area   Code   212) 


IN   THIS   ISSUE 

Tinted  Release  -  Print  Film 

By  ROBERT  A.   MITCHELL 

The  Cover  Story: 
Kodak's    Girl 


306's  50th  Anniversary 

New  Audio  System   for  Drive-In 

News  Notes — Technical  Hints — Miscellaneous  Notes 


11 

10 
12 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
International  Projectionist  Publishing  Co.  division  of  The 
Northern  Publishing  Co.,  Post  Office  Box  6174,  Minneapo'is 
24,  Minnesota.  Editorial  offices,  1645  Hennepin  Avenue, 
Minneapolis  3,  Minn.  Subscription  Representatives:  AUS- 
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ZEALAND  —  Wixon's,  Ltd.,  64  Courtnay  Place,  Wellington; 
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Minneapolis,  Minn.  INTERNATIONAL  PROJECTIONIST  as- 
sumes no  responsibility  for  personal  opinions  appearing  in 
signed  articles,  or  for  unsolicited  articles.  Entire  contents 
copyrighted  1963  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 


1 


MONTHLY  CHAT 

EXHIBITORS  ARE  REFURBISHING— 
CHEERY  NEWS  FOR  CRAFTSMEN 

One  indication  that  the  exhibitors  are  refurbishing 
their  theatres  is  that  the  equipment  manufacturers  were 
verv    happv    at  the  recent  TO  A   trade  show. 

The  manufacturers  who  had  a  booth  in  the  trade 
show  sot  man)  orders,  particularly  on  projection  room 
equipment,  and  the  exhibitors  who  did  not  order  still 
seemed    interested    in    the    new.    up-to-date    equipment. 

The  TOA  business  sessions  were  in  the  morning, 
and  after  the  formal  lunch  the  theatre  owners  crowded 
the   trade  show. 

Just  maybe  the  booth  craftsmen  will  get  a  break. 
particularly  in  the  subsequent  runs.  The  theatre  own- 
ers  maj  uet  wise  to  protecting  their  investment  against 
their  competition  or  maybe  even  pop  for  a  new  theatre. 

The  TOA  keynote  speech  was  the  "'boom"'  ahead  for 
the  theatre  industry.  Exhibitor  Richard  A.  Smith  dis- 
cussed the  growth  in  the  shopping  center  theatre  and 
drive-ins. 

lie  estimated  thai  2.000  theatres  will  be  constructed 
within  tin'  ne\i  five  years.  He  said  that  if  only  1.500 
were  built  in  the  next  five  years  the  building  boom 
should  stimulate  the  production  of  films  by  their  in- 
creased   revenue. 

Mr.  Smith  said  if  1.501)  theatres  are  constructed  in 
I  he  next  five  vears  that  will  bring  to  the  film  industry 
over  $175,000,000  a  year  in  increased  box-office  grosses. 
lie  winl  mm  ,ii  [he  same  lime  In  sav  thai  downtown 
theatre  operations  can  also  continue  to  prosper  with  the 
proper  handling. 

I  hi-    is   cheer)    news   for   the   booth   craftsmen. 

To  meet  present-day  standards,  for  even  the  subse- 
quent runs  and  neighborhood  theatres  the  picture  should 
he   bright,   with  good   distribution  and   color  rendition. 

There  are  many  theatres,  especially  in  the  subse- 
quent runs,  which  have  out-moded  and  well-worn  arc 
lamps  and  projectors  (according  to  the  equipment  men 
more  than  55'  i  of  the  arc  lamps  and  projectors  in 
the. il  res  in   this  eountrv    are  more  than  20  years  old  I . 

Exhibitors  look  for  1064  to  be  a  good  year  in  their 
business,  topping  1963,  which  was  not  bad,  at  least 
for  the  big  pictures.  If  the  exhibitors  spend  money  for 
new  projection  equipment  and  they  advertise  that  they 
have  high-standard  projection  and  sound,  they  can  help 
their  theatre  by  attracting  more  patrons  just  because 
the  theatre-goer  knows  what  "modern  sound"  is. 

The  theatre  owner  should  consult  the  projectionist 
for  tips  on  what  he  is  buying.  The  projectionist  keeps 
up-to-date  on  the  booth  equipment — or  he  should  if 
he  is  doing  his  best  job.  But  how  many  men  can  keep 
up  their  interest  when  they  must  do  with  ancient  gear, 
and   when  their  suggestions  are  never  requested? 

For   Will    Rogers   Memorial    Hospital 

The  projectionist  should  save  copper  drippings  for 
the  Will   Rogers   Memorial   Hospital. 

Morris  J.  Rotker,  a  member  of  Local  306  and  a 
member  of  the  25-30  Club  in  New  York,  originated  the 
copper  drippings  for  the  Will  Rogers  Hospital;  the  union 
locals  gather  the  copper  drippings  for  donation  for  the 
Hospital  at  Saranac  Lake,  N.  Y.  In  some  theatres  the 
projectionists  strip  the  copper  from  the  carbon.  The  Will 
Rogers  Hospital  needs  the  money,  so  see  what  you  can  do. 

iP 


International  Projectionist         December.  1963 


INTERNATIONAL   PROJECTIONIST 


Volume  38 


December,   1963 


Number   12 


A  Neglected  Asset: 

TINTED  RELEASE-PRINT  FILM 

By  ROBERT  A.  MITCHELL 
PART  I 


Tinted-base  release  prints  have  only  seldom  been 
used  since  the  advent  of  talking  pictures,  and  to  the  best 
of  this  writer's  knowledge,  not  at  all  during  the  past 
twenty  years.  What  a  contrast  to  silent-picture  days 
when  every  available  trick  of  the  trade  was  pressed  into 
service  to  beautify  the  screen  and  amplify — or  even 
over-amplify,  if  possible,  —  the  emotional  and  atmos- 
pheric values  inherent  in  the  dramatic  photoplay! 

All  monochrome  prints  of  the  present  day  are  a  stark 
and  unexpressive  black-and-white — the  black  of  the  silver 
image  and  the  white  of  unfiltered  arc  illumination  on  a 
chalk-white  screen.  The  effect  of  plain  black-and-white, 
while  of  great  visual  clarity,  is  sometimes  harsh  and 
nearly  always  pictorially  monotonous  because  of  the  un- 
relieved absence  of  dramatically  suggestive  or  emotion- 
ally contextual  color.  Experience  has  demonstrated  that 
dominant  color  tone,  especially  when  appropriately  varied 
from  sequence  to  sequence,  enhances  in  a  powerful  man- 
ner the  mood  and  feeling  of  each  individual  scene  of  a 
motion  picture. 

The  dramatic  technique  of  tinted  film  was  utilized 
at  a  very  early  date.  At  first,  plain  black-and-white 
footage  was  colored  by  dye  solutions  which  were  readily 
and  uniformly  absorbed  by  the  gelatine  emulsion.  So 
widespread  did  the  use  of  colored  film  become  that  the 
manufacturers  of  film  offered,  as  an  improvement, 
tinted-base  positive  raw  stock  in  a  wide  variety  of  colors. 
Eastman  Kodak,  for  example,  supplied  seventeen  stan- 
dardized colors  of  film,  millions  and  millions  of  feet 
of  which  were  consumed  by  the  industry.  In  fact,  fully 
90  per  cent  of  all  feature-film  footage  was  printed  on 
tinted  positive  during  the  1920's. 

Old-Style   Photocell    Rejects  Tints 

It  is  entirely  probable  that  effective  dramatic  use  of 
tinted  release  stock  would  have  continued  into  the  days 
of  sound  pictures  had  it  not  been  for  the  "blindness"  of 
the  old-style  potassium  photoelectric  cell  to  the  broad 
infrared  region  of  the  spectrum  freely  transmitted  by 
most  dyes.  In  other  words,  tinted  film  stock  seriously 
interfered  with  optical  sound  reproduction  when  the 
potassium  photocell  was  used.  The  old-style  metallic 
cesium  cell,  unlike  the  modern  cesium-oxide  and  silver- 
oxide  cell,  was  similarly  afflicted  with  this  sort  of 
"color-blindness." 

The  early  potassium  cell,  like  the  modern  blue-sen- 
sitive photocell   having  what  is   called   a   "type   S-l    re- 


sponse," is  affected  only  very  feebly  by  green,  yellow, 
and  orange  light,  and  not  at  all  by  red  light  and  the  in- 
visible infrared  radiation  to  which  the  modern  S-4  ces- 
ium-silver-oxygen photocell  and  the  silicon  photodiode 
are  most  sensitive. 

With  a  blue-sensitive  photocell  in  the  soundhead,  use 
of  green,  yellow,  or  amber-tinted  film  attenuated  the 
sound  output  to  such  an  extent  that  a  compensating 
boost  in  fader  setting  unpleasantly  decreased  the  signal- 
to-noise  ratio  of  the  system.  Use  of  deep  red  film  cut 
the  sound  off  entirely!  It  is  understandable,  then,  that 
movie  producers  resorted  to  exclusive  use  of  clear-base 
stock  as  the  best  way  to  avoid  unnecessary  trouble  with 
a  method  of  sound  reproduction  which,  even  at  its  best 
during  the  infancy  of  talking  pictures,  left  much  to  be 
desired. 

But  things  have  changed.  Except  for  the  isolated  in- 
stance of  a  few  European  equipments,  blue-sensitive 
photoelectric  cells  have  now  been  completely  replaced 
by  infrared-sensitive  photocells  and  phototransistors  to 
which  all  colors  of  tinted-base  film  "look"  very  nearly 
as  transparent  as  clear-base  film.  Accordingly,  tinted- 
base  release  positive  can  now  safely  be  used  indiscrim- 
inately, with  as  many  color  changes  as  may  be  desired 
in  a  single  reel,  or  even  intercut  with  clear-base  stock, 
without  noticeable  attention  of  optical-track  reproduc- 
tion. 

Tinted    Film    for   Monochrome 

This  assertion  can  be  proved:  and  this  we  intend 
presently  to  do  to  the  satisfaction  of  all  concerned — di- 
rectors and  producers  as  well  as  projectionists, — but  first 
let  us  attempt  to  dispose  of  two  questions  which  are 
surely  uppermost  in  the  minds  of  many  who  may  wish 
to  re-examine  the  dramatic  potentialities  of  tone-coloring 
the  screen. 

First,  doesn't  the  prevalence  of  natural-color  filming 
preclude  the  need  for  tinted-base  prints?  No  one  can 
be  more  enthusiastically  appreciative  of  natural  color 
than  we  are;  but  the  fact  remains  that  there  will  always 
be  a  place  on  the  screen  for  monochrome  ( represented 
at  present  only  by  plain  black-and-white ) .  As  Bette 
Davis  says  in  her  autobiography.  The  Lonely  Life,*  "I 
have  always  thought  color  robs  an  emotional  story  of 
power,  and  most  of  my  work  was  of  an  emotional  nature. 
History,  however,  is  usually  enhanced  by  color."  Not 
history    only,    as    Miss    Davis    may    agree,    but    musical 

International  Projectionist         December,  1963 


Some  thingS  Can't  be  hUrried:  Sharp,  crisp,  top-quality  prints  take  time  to  pro- 
duce. Don't  push  your  print-maker  into  making  short  cuts.  Give  him  time  to  do  the  job  right,  do  your 
negatives  justice.  Otherwise,  you're  throwing  away  good  money.  Matter  of  fact,  better  play  it  safe. 
GO  EASTMAN  all  the  way— negative  and  print-stock.  And  always,  in  the  case  of  questions— produc- 
tion, processing,  projection— get  in  touch  with  Eastman  Technical  Service.  For  further  information: 
write  or  phone  Motion  Picture  Film  Department,  EASTMAN  KODAK  COMPANY,  Rochester  4,  N.Y. 
Or— for  the  purchase  of  film:  W.  J.  German,  Inc.  Agents  for  the  sale  and  distribution  of  EASTMAN 
Professional  Film  for  Motion  Pictures  and  Television, 
Fort  Lee,  N.  J.,  Chicago,  III.,  Hollywood,  Calif.  ...... ................. ..r 

FOR  COLOR... 


EASTMAN  FILM 


photoplavs.  sagas  of  God's  great  out-of-doors,  and  spec- 
tacular epics  of  every  conceivable  kind.  But  the  the- 
atrical motion  picture  depends  for  its  existence  upon 
the  human  soul  projected  in  an  intense  isolation:  and 
for  the  deeper  introspection  of  human  nature,  the  pro- 
founder  mood,  monochrome  appears  to  be  the  most 
suitable  medium. 

As  we  said,  the  blindness  of  the  old-time  potassium 
photocell  to  the  red  and  infrared  wavelengths  of  exciter 
radiation  prevented  the  unrestricted  use  of  tinted-base 
stock  for  sound-positive  printing.  The  need  for  mood- 
coloring  monochrome  productions  was  nevertheless  oc- 
casionally met  by  toning  the  silver  image  without  adding 
color  to  the  base  or  to  the  clear  gelatine  of  the  emulsion. 
White  areas  of  the  photographic  image  remained  white, 
but  the  halftones  became  sepia-brown  or  some  other 
muted  shade  of  color — a  welcome  relief  from  the  ex- 
pressionless achromatic  grays  of  the  silver  image. 

Image-toning  was  possible  because  the  metallic  salts 
which  replaced  the  silver  of  the  photographic  image  are 
nearly  opaque  to  the  wavelengths  which  affect  the  photo- 
cell most  strongly,  thus  insuring  a  normal  sound  level 
without  affecting  the  signal-to-noise  ratio.  For  present- 
lnv.  Visible  Invisible 


Wavelength   (nyt) 


Scale  of    Electromagnetic  Radiations 

FIG.  1 — The  radiant  emission  of  light  sources,  the  response 
of  photocells  to  various  wavelengths  of  radiation,  and  the 
transmittance  of  radiation  by  colored  plastics  can  best  be 
shown  graphically  by  a  "curve"  drawn  on  a  rectangular 
network    of    co-ordinates. 

This  diagram  is  just  such  a  graph,  but  presented  without 
a  curve  of  any  kind  in  order  to  reveal  more  clearly  the  range 
of  radiation  wavelengths  in  which  we  are  most  interested — 
a  "spectrum"  from  350  to  1200  millimicrons.  Note  that 
this  range  includes  the  visible  spectrum  (unshaded)  divided 
into  its  characteristic  color  bands,  violet,  blue,  green, 
yellow,  orange,  and  red.  Beyond  the  shortwave  and 
longwave  extremes  of  the  visible  spectrum  lie  the  invisible 
ultraviolet    and    infrared    regions,    respectively. 

day  use,  the  colored  salts  chosen  for  image-toning  must 
absorb  strongly  in  the  low  red  and  near  infrared  regions 
of  the  spectrum  so  as  to  "look"  opaque  to  the  S-4  type 
of  photocell.  Many  projectionists  will  remember  the  blue- 
toned  soundtracks  of  the  old  Cinecolor  and  Trucolor 
prints.  The  blue  salt  was  a  form  of  Prussian  blue  I  ferric 
ferrocyanide),  opaque  to  the  infrared. 

The  writer  recalls  several  dramatic  westerns  and 
other  "locale"  pictures  ( e.g.  "The  Good  Earth" )  which 
were  enhanced  in  mood  by  sepia  toning.  Also  much 
used  about  25  years  ago  was  a  beautiful  process  called 
Sepia-Platinum   which   resulted   in   a   pleasing  combina- 


400  500  600  700  800  900  1000  1100  IZ0O 

Wavelength  (mu.) 

Emission  of  tungsten-filament  exciter  (2x00°  Kj 

FIG.  2 — The  emission  of  a  tungsten-filament  soundhead 
exciting  lamp  operated  at  a  color  temperature  of  about  2500° 
K  (amber-yellow  light)  has  most  of  its  radiant  energy  con- 
centrated in  the  infrared  region  of  the  spectrum.  The 
maximum  intensity  of  exciter  radiation  occurs  close  to  1000 
millimicrons  in  the  invisible  infrared. 

tion  of  greenish  pastel  tones  and  chocolate-brown  deep 
tones. 

Tinting  and  toning  were  often  used  together  in 
silent-film  printing  practice.  For  example,  a  green  image 
on  a  yellow  ground  produced  by  blue  toning  on  "Sun- 
shine" positive,  a  violet  image  on  a  rose-pink  ground 
produced  by  blue  toning  on  "Caprice"  positive,  a  sepia 
image  on  an  amber  ground  produced  bv  brown  toning 
on  "Afterglow."  "Candleflame."  or  "Firelight"  positive, 
etc. 

These  and  other  attractive  color  combinations  were 
especially  frequent  and  varied  in  such  "novelty  reels" 
of  yesteryear  as  Walter  Futter's  Curiosities.  Pathe  Re- 
view. Lynam  Howe's  Hodge  Podge,  and  Paramount  Pic- 
torial. We  miss  the  color  effects  as  well  as  the  lively 
variety  of  the  movie  shows  of  other  days,  for,  after  all. 
the  public  doesn't  attend  the  theatre  to  be  bored  to  death ! 

Tinted    Film    Glorifies   the   Screen 

The  second  question  we  have  in  mind  concerns  the 
improvement  of  theatre  motion  pictures  by  the  use  of 
tinted  positive  for  monochrome  feature-film  releases.  Is 
tinted  film  a  boxoffice  asset?  That  is  to  ask,  will  the 
average  moviegoer  enjoy  the  movies  more  when  they 
are  pictorially  beautified,  emoticnallv  enhanced,  and 
dramatically  enlivened  by  the  use  of  tone  color  for 
monochrome  productions?  Our  answer  is  a  resounding 
YES! 

Aside  from  the  undisputed  fact  that  tinted  film  allows 
pictorial  effects  which  the  dead  white-and-grav  scenes 
of  monochrome  TV  sets  are  unable  to  duplicate,  tinting 
and  toning  motion-picture  film  makes  for  visual  interest, 
viewing  comfort,  and  a  significant  intensification  of  the 
emotions  being  portrayed  on  the  giant  theatre  screen. 
Let  the  case  be  stated  by  Dr.  Loyd  Jones,  an  authority 
on  film  and  color  who  wrote  on  the  subject  during  the 
transition  from  silent  to  sound  motion  pictures:* 

"There  is  little  doubt  that  the  employment  of  material 
which  imparts  a  pleasing  and  variable  color  to  the 
screen  adds  to  the  beauty  of  the  production,  breaks  the 
monotony  of  looking  for  long  periods  at  a  plain  black- 
and-white  picture,  and  softens  harsh  outlines  which  other- 
wise may  produce  unpleasant  impressions.  But  of  much 


"The  Lonely  Life"  by  Bette  Davis,  G.  P.  Putnam's 
Sons,  now  also  available  in  a  Lancer  paperback 
edition. 


"Tinted  Films  for  Sound  Positives"  by  Loyd  A. 
Jones,  Transactions  of  the  SMPE,  Vol.  XIII.  No. 
37.   1929. 


International  Projectionist         December.  1963 


r 


greater  importance  than  these  rather  incidental  aesthetic 

contributions    of    color    is    its    great   potential    power    to 
enhance,    b)    either    objective    or   subjective    association. 
the   emotional   significance   of   the   scene   with   which   it 
is  assocated." 
Technical   Considerations 

The  pressing  technical  problem  attendant  upon  the  use 
of  tinted  film  is.  of  course,  satisfactory  reproduction  of 
the  optical  soundtrack.  If  the  tinted  base  interposes  an 
appreciable  optical  densit)  to  the  photoelectric  cell  or 
phototransistor,  significant!)  reducing  response,  it  will 
be  necessary  for  the  projectionist  to  increase  the  fadei 
setting  in  order  to  obtain  a  normal  level  of  sound  volume. 
\nd  no  matter  how  much  '"reserve  power"  the  amplifier 
nun  bave,  compensation  bj  means  of  the  volume  con- 
trol invariablv  increases  "ground  noise;"  and  if  the 
photoelectric  densit)  ol  the  film  is  excessive,  the  in- 
i  rease  in  gain  required  for  adequate  volume  mav  he  so 
great  as  to  introduce  overload  distortion. 

These  fears  were  well  founded  in  the  days  of  blue- 
sensitive  photocells.  Tests  confirmed  the  fact  that  cer- 
tain red.  orange  (amber),  yellow,  and  green  films  had 
excessive  photoelectric  densit)  to  potassium  cells.  The 
main  difficulh  however,  was  not  >n  much  the  ground- 
noise  as  the  rather  drastic  and  frequent  changes  in 
fader  setting  required  for  the  projection  of  reels  in 
which   different   colors   of    film    were    intercut. 

\-  stated  at  the  outset,  this  difficult  no  longer  ex- 
ists.  The  possibility  of  interference  with  photocell  re- 
sponse b\  the  film-base  dyes  has  now  been  completely 
eliminated  l>\  the  almost  universal  use  of  red — and  in- 
frared-sensitive photoemissive  cells  (type  S- 1  rseponse), 
silicon  photodiodes,  and  germanium  transistors.  This 
statement  can  be  proved. 

Tig.  1  is  the  tvpe  of  chart  used  for  plotting  the  re- 
sponse of  photoelectric  devices  as  well  as  the  radianl 
emission  of  exciting  lamps  and  the  transmission  char- 
acteristics of  tinted  film-base  material-.  It  is,  in  effect, 
a  graph  having  rectangular  co-ordinates  extended  from 
the  horizontal  scale  of  radiation  wavelengths  and  the 
vertical  scale  of  response,  radiant  emission,  or  trans- 
mittance  in  terms  of  relative  energy. 

Fig.  1  has  no  "curve""  to  indicate  am  of  the  data 
which  we  shall  presentlv  examine.  The  chart  has  pur- 
poselv  been  left  blank  in  order  to  shov  more  clearlv  the 
nature  of  the  spectrum  wavelengths  which  mosl  concern 
us — the  wavelengths  from  350  millimicrons  in  the  near 
ultraviolet  down   to    120(1  millimicrons   in   trie   infrared. 

Note  that  the  visible  portion  of  the  spectrum,  with  its 
characteristic  bands  of  colors  (violet,  hlue.  green,  yellow, 
orange,  and  red),  extends  onlv  from  -100  to  700  milli- 
microns.* Beyond  the  shortwave  extreme  of  the  visible 
spectrum  i  v  iolet  I  are  the  chemicallv  active,  but  in- 
visible,   ultraviolet    wavelengths:    beyond    the    longwave 

Although  the  human  eye  responds  only  very  feebly 
to  wavelengths  shorter  than  100  millimicrons  or 
longer  than  700  millimicrons,  the  most  painstaking 
recent  research  proves  that  there  is  some  visual  re- 
sponse, albeit  extremely  slight,  to  about  360  milli- 
microns in  the  violet-ultraviolet  and  to  about  830 
millimicrons  in  the  red-infrared.  The  commonly 
stated  limits.  400  and  700  millimicrons,  are  never- 
theless good  round  figures  to  remember. 

Ordinary  crown  window  glass  is  opaque  to  ultra- 
violet beyond  330  millimicrons  and  to  infrared  be- 
yond 5000  millimicrons.  Clear  acetate  film  base  is 
opaque  beyond  300  millimicrons  and  has  strong  ab- 
sorption bands  in  the  far  infrared  I  beyond  3000 
millimicrons  I . 

International  Projectionist        December.  1963 


v;s;bi 


Q?l 


400  500  600  700  800  900  1000  1100  1200 

Wavelength  (ny*) 

Equal- energy  response  of  various  photoelectric  cells 

FIG. 3 — The  sensitivity  of  three  different  types  of  photoelec- 
tric cells  to  the  range  of  wavelengths  under  consideration. 
The  heavy  line  charts  the  response  of  the  common  cesium- 
silver-oxygen  photoemissive  cell  (type  S-4).  Observe  that 
there  are  two  peaks  of  strong  response,  one  in  the  ultra- 
violet and  a  broader  one  in  the  infrared.  The  S-4  photocell 
is  alsa  sensitive  in  greater  or  lesser  degree  to  all  visible 
wavelengths. 

The  response  curve  drawn  as  a  broken  line  indicates  the 
sensitivity  of  the  S-l  blue-sensitive  potassium  cell.  Formerly 
used  in  America,  the  blue-sensitive  photocell  is  now  con- 
fined to  a  few  European  equipments.  It  has  the  disadvant- 
age of  excessive  sensitivity  to  variations  in  exciter  voltage 
and  ensuing  changes  in  the  color  of  the  light,  causing 
undesirable   variations   in   sound  volume. 

The  light  solid  line  shows  the  response  of  the  modern 
silicon  photodiode  or  phototransistor.  It  closely  matches  the 
S-4  curve  in  the  important  yelbw-red-infrared  band  of  the 
spectrum. 

extreme  I  red  I  are  the  heat-producing,  but  also  invisible, 
infrared   wavelengths. 

Because    the    photoelectric    cells    commonly    used    in 
soundheads  at  the  present  time  are  red — and  infrared- 
sensitive  devices,   it   is  the  longer  wavelengths,  both  vis- 
ible and   invisible,  which  most  concern  us. 
Exciter   Emission,    Photocell    Response 

Fig.  2  presents  the  radiant  emission  curve  of  a  tung- 
sten-filament exciting  lamp  operated  at  10  lumens  per 
watt — a  "color  temperature"  of  2500°  on  the  absolute. 
or  Kelvin,  thermometer  scale  (=2227°  C=4532°  F). 
Light  of  this  color  temperature  may  be  described  as 
amber-yellowish    in   appearance. 

It  is  of  particular  interest  that  most  of  the  radiant 
energy  emitted  by  a  soundhead  exciter  occurs  in  the 
invisible  infrared,  with  its  maximum  close  to  1000 
millimicrons  when  the  lamp  is  burned  at   10  L/W. 

Fig.  3  shows  the  response  characteristics  of  three 
photoelectric  devices  employed  in  optical  soundheads. 
The  blue-sensitive  type  S-l  photoemissive  cell,  used  in 
the  early  days  of  sound-on-film  reproducers,  is  totally 
blind  to  the  red  and  infrared  wavelengths  which  pre- 
dominate in  exciter  radiation.  This  cell  has  been  brought 
back  for  use  in  a  few  equipments  of  European  manu- 
facture, but  it  may  justly  be  condemned  because  it  ag- 
gravates the  bad  effect  of  incidental  variations  in  ex- 
citer voltage. 

When  exciter  voltage  decreases,  the  light  not  only  be- 
comes dimmer,  but  also  redder.  The  S-l  cell  is  insen- 
sitive to  red  light.  In  consequence,  sound  volume  falls 
off  more  markedly  than  it  would  with  an  infrared-sen- 
sitive cell,  thus  annoying  the  projectionist  with  the 
necessity  of  "riding  the  gain"  to  maintain  a  reasonably 
level  volume  of  sound  output. 

The   blue-sensitive    photocell    is    suitable   for   the    re- 


production  of  yellow-image  dye  soundtracks,  but  is  un- 
fit for  use  with  tinted-base  films. 

Fortunately,  the  cesium-silver-oxygen  S-4  photoemis- 
sive  cell  in  common  use  is  most  sensitive  to  those  red 
and  infrared  wavelengths  which  form  the  bulk  of  exciter 
radiation.  Maximum  response  occurs  at  about  800  milli- 
microns. Small  variations  in  exciter  voltage  are  well 
tolerated  bv  S-4  photocells.  They  are  also  suitable  for 
the  reproduction  of  regular  silver-image  tracks  on  both 
clear  and  tinted-base  film. 

The  silicon  photodiode  is  perhaps  the  most  trouble- 
free   and   satisfactory    of    all    optical-sound   pickups   be- 


Vlsible 


Infrared 


Visible 

Infrared 

t 

X     \ 

>N 

/                                                                     \ 

'an 

l» 

V 

i. 

Of 

\ 

V 

\ 

> 

\ 

10 

\ 

£ 

i               i 

+00  500  fcOO  700  800  900  1000  1100  1200 

Wavelength  (ny*) 

Response  of  S'4-  photocell  under  gxciter  illumination 

FIG.  4  —  The  integrated  response  curve  of  a  photocell 
illuminated  by  an  exciting  lamp  amounts  to  the  simple 
mathematical  product  of  photocell  sensitivity  and  exciter 
emission  at  each  wavelength  all  along  the  spectrum.  Here 
we  have  the  response  of  the  common  S-4  photocell  to  excit- 
ing light  having  a  color  temperature  of  2500°  K.  Note 
that  tne  strong  ultraviolet  peak  of  S-4  photocell  response 
(Fig.  3)  is  markedly  diminished  by  the  weakness  of  the 
ultraviolet  in  exciter  radiation  (Fig.  2).  A  similarly  inte- 
grated curve  for  the  silicon  photodiode  would  be  much  the 
same  as  this  one,  except  for  sharp  cutoffs  at  455  millimi- 
crons (blueviolet)   and  1010  millimicrons  (infrared). 

cause  of  its  high  signal  output,  low  noise  level,  ex- 
treme ruggedness,  and  indefinitely  long  life.  Its  response 
to  the  various  wavelengths  of  radiation  is  very  similar 
to  that  of  the  S-4  photoemissive  cell  and  to  the  general 
characteristics  of  a  large  family  of  phototransistors. 

Fig.  4  is  an  "integrated  curve" — the  response  of  the 
S-4  photoelectric  cell  multiplied  all  along  the  spectrum 
by  the  radiant  emission  of  a  tungsten-filament  exciter 
operated  at  a  color  temperature  of  2500°  K  ( 10  lumens  - 
watt).  This  curve  indicates  the  response  of  a  standard 
type  S-4  photocell  under  actual  operating  conditions. 
A  comparison  of  this  integrated  curve  with  the  S-4  curve 
in  Fig.  3  reveals  little  alteration  in  shape  except  for 
marked  attenuation  of  the  secondary  response  peak  in 
the  ultraviolet.  This  attenuation — quite  unimportant — 
is  caused  by  the  very  feeble  emission  of  ultraviolet  by 
the  exciter  lamp. 

Dyes   Transparent   to    Infrared 

Now  we  come  to  a  most  important  matter — the  trans- 
mission characteristics  of  tinted  film  bases.  It  is  evident 
that  such  materials  absorb  certain  parts  of  the  visible 
spectrum,  for  that  is  what  causes  the  color.  Are  there 
any  absorption  bands  in  the  infrared  which  might  con- 
ceivably decrease  S-4  photocell  response?  Happilv.  the 
answer  is  negative. 

The  three  colors  of  tinted  base  chosen  for  illustration 
in  Fig.  5  are  widely  separated  in  absorption  character- 


1 ' 1 ' 

700  800  900  1000  1100  1200 

Wavelength  (ny*) 

Transmission    of  three   colors   of  tinted -film  stock 

FIG.  5 — The  spectral  transmittances  of  clear  film  base  and 
of  three  selected  colors  of  tinted  film  base,  amber,  bluish 
green  (aquamarine),  and  deep  blue.  Observe  that  the  clear 
acetate  base  transmits  all  wavelengths  freely  except  for  an 
insignificant  falloff  in  the  extreme  violet  and  near  ultra- 
violet. The  colors  of  the  tinted-base  samples  are  produced 
by  selective  absorptions  in  the  visible  spectrum,  as  the  curves 
show.  All  samples  nevertheless  transmit  the  infrared  spec- 
trum down  to  about  1500  millimicrons  as  freely  as  the  clear 
base  does — a  transmissivity  of  about  90  per  cent. 

istics  and  representative  of  film  tints  available  in  the 
days  of  nitrate  film  and  silent  pictures.  They  are  amber 
I  soft  orange  I .  bluish  green  I  vivid  aquamarine ) ,  and 
deep  blue,  corresponding  roughly  to  the  tinted  films 
made  by  Eastman  Kodak  many  years  a~o  under  the 
names  "Peachblow."  "Aquagreen,"  and  '"Nocturne." 

The  curve  in  the  upper  left-hand  corner  of  Fig.  5 
is  for  clear  acetate  film  base.  This  material  freely  trans- 
mits all  of  the  wavelengths  under  consideration:  and  the 
slight  "dip"  in  the  far  violet  is  not  sufficiently  pro- 
nounced to  produce  either  visual  or  sound-reproduction 
effects. 

The  transmission  and  absorption  bands  of  the  three 
colored  film  bases  are  distributed  only  in  the  visible 
part  of  the  spectrum  I  and  also  in  the  unimportant  ultra- 
violet] :  and  it  is  these  selective  absorptions,  as  we  said, 
which  are  responsible  for  the  colors  exhibited  by  the 
tinted  base  materials.  There  are  no  absorption  bands  in 
the  infrared  down  to  1200  millimicrons,  however.  Is  this 
merely  a  fortunate  coincidence?  Not  at  all.  The  organic 
chemical  dyes  employed  to  impart  color  to  the  filmbase 
material,  in  common  with  most  organic  dyes,  transmit 
freely,  without  any  absorption  bands,  in  the  all-import- 
ant infrared  region  of  the  spectrum. 

The  top  horizontal  line  of  Fig.  5  may  be  taken  to 
represent  a  radiant-energy  transmissivity-  of  90%  (a 
transmittance  of  0.9). 


Visible 

Infrared 

S 

t 

3 

L. 

C 

// 

> 
J? 

// 

-i 1 i -^^" 

600  700  800  90C 

Wavelength  U 


Tungsten- excited    S~4-  cell""  —  Amber-tinted   film 

FIG.  6 — This  diagram  is  extremely  important  to  the  sub- 
ject under  discussion.    See  text  for  details. 


International  Projectionist         December.  1963 


Tinted    Film    and    Sound    Reproduction 

The  final  and  most  crucial  step  in  evaluating  the 
effect  of  tinted  films  on  optical  sound  reproduction  is 
integration  of  the  spectral  curves  of  the  tinted  base 
materials  with  the  S-4  photocell  response  which  has  al- 
read\  been  integrated  with  the  radiant  emission  of  the 
exciter  i  its  shown  in  Fiji.  4 1 .  This  has  been  done  in 
Figs.  (>.  7.  and  8. 

Fi«z.  6  conclusive!)  proves  that  yellow,  orange,  and 
red    films    cause    no    perceptible    attenuation     of    sound 

Visible  Infrared 


700  BOO  900  1000  1100  1200 

Wavelength  (m^) 

Tunrfsten-excited  S-.4-  cell '  Bluisn   pVeen  film 

Fig.  7 
volume  or  other  audio  disturbance  of  anj  kind.  Fig.  > 
reveals  that  the  bluish  green  film  all  but  eliminates  the 
S-4  photocell's  response  to  the  visible  spectrum,  but 
whereas  most  of  the  response  »>f  this  tvpe  of  cell  occurs  in 
the  infrared,  which  is  unaffected  bv  the  bluish  green  dvc. 
the  resulting  sound-volume  attenuation  amounts  to  less 
than  is  noticeable,  and  even  less  than  can  he  compensated 
for  by  a  single  Step  on  the  fader.  Reproduction  is  en- 
tirely satisfactory. 

The    bluish   green   sample   plotted    here   has  a   sli^htlv 
greater   photocell   densitv    than    the   deep   blue    plotted    in 


Visible 


Infrared 


400  50C  600  700  800  900  1000  1100  1200 

Wavelength  (nya) 

Tungsten -excited  S-<4-  cell' Deep  blue  film 

Fig.  8 
Fig.  8.  Most  blue  dyes,  especially  if  thev  incline  to  blue- 
violet  in  tone,  transmit  the  low  red  rather  freely,  and  the 
infrared  perfectly.  A  few  blue  dyes  are  known  which  are 
opaque  to  low  red  and  near  infrared:  but  there  is  no 
reason  to  employ  these  relatively  unusual  colorants  in 
tinted-film  base. 

W  e  mav  safelv  conclude,  therefore,  that  all  colors  of 
tinted-base  prints  mav  be  intermixed  with  one  another 
or  with  clear-base  film  without  producing  audible  changes 
in  sound  volume  when  the  optical  soundtracks  are  re- 
produced bv  photoelectric  devices  having  a  type  S--1  re- 
sponse. Bluish  green  film  of  high  color  saturation  presents 
the  greatest  photoelectric  density,  but  not  even  with  this 
color  do  soundtrack  re-recording  compensations  or 
changes  in  projection-room  fader  setter  appear  to  be 
necessarv . 

(TO  BE  CONC LVDED) 

International  Projectionist        December.  1963 


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New  York  Marks 
50th  Anniversary 

NEW  YORK  —  The  Americana 
Hotel  was  the  scene  of  the  50th  An- 
niversary of  Local  306.  The  attend- 
ance was  above  1,700,  which  in- 
cluded celebrities,  film  company 
executives,   and   members    of   306. 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture   Equipment   Division 

TOO    E.  42nd   St.,    New  York    17,   N.Y. 


ANNIVERSARY— Local  306  of  the  IATSE  celebrated  its  50th  anniversary  re- 
cently with  a  1,700-person  party.  Seated  above  left  to  right  are  guest  of  honor 
Robert  Preston;  Richard  Walsh,  IA  president,  and  Steve  DTnzillo.  Standing  are 
Gene  Stridel,  Ernie  Lang,  Harry  Garfman  and  Joey  Adams. 


Steve  DTnzillo  introduced  dis- 
tinguished guests,  and  Joey  Adams 
was  the  master  of  ceremonies. 

Short  speeches  were  made  by 
Harry  Brandt,  theatre  owner;  James 
J.  McFadden,  acting;  commissioner 
of  the  New  York  City  division  of 
labor  relations:  Armand  D'Angelo. 
commissioner    of   the    department    of 


CAN  YOU  MATCH 
ONE  OF  THESE  3 


TO  YOUR  SCREEN? 


X-16  XENON  ARC 
PROJECTION  LAMPS 


900-watt  model  for  screens  up  to  23  feet  wide  (matte-Cinemascope  Aperture) 

or  28  feet  wide  (high  gain— Cinemascope  Aperture) 

1600-watt  model  for  screens  up  to  29  feet  wide  (matte-Cinemascope  Aperture) 

or  36  feet  wide  (high  gain -Cinemascope  Aperture) 

2500-watt  model  for  screens  up  to  35  feet  wide  (matte-Cinemascope  Aperture) 

or  43  feet  wide  (high  gain-Cinemascope  Aperture) 


Steady,  flickerless,  pure  white  light  is  independent 

of  voltage  variations  of  the  power  line  supply. 

Extremely  even  distribution  of  light  throughout  the 

total  screen  area. 

"Push-Button  repeatability"  of  intensity  and  color 

temperature. 

Excellent  color  film  reproduction. 

Focus  remains  constant. 


THE 


Projects  practically  no  heat  to  the  film  or  aperture 
plate.  No  cooling  required. 
Cleanliness  assures  maximum  life  for  the  projector. 
Simple  operation.  No  moving  parts  in  the  light 
source. 

Maintenance  and  current  costs  are  approximately 
the  same  as  for  carbon  and  current  costs  for  operat- 
ing a  carbon  arc  lamp  of  equivalent  light  output. 

Send  for  brochure.  Demonstration  in  your  theatre  on  request. 

ELECTRIC  CORPORATION 


31    CITY  PARK   AVENUE 


TOLEDO   1,  OHIO 


water  supply,  gas  and  electricity: 
Harry  Garfman.  business  agent  for 
Brooklyn  and  Queens;  Ernest  Lang, 
secretary  of  Local  306,  and  Richard 
F.  Walsh.  International  President  of 
IATSE. 

Robert  Preston  was  the  guest  of 
honor,  currently  starring  in  "All  the 
Way  Home."  Gene  Stridel  sang  the 
national  anthem. 


306  Elects  the  Same 
Management  Except  for 
The  VP  for  1964-1965 

NEW  YORK  —  Members  of  Lo- 
cal 306  voted  for  the  same  officers, 
except  for  the  vice  president,  for 
the  term  of  1964-65. 

Dick  Cancellare.  president;  Al 
Ashman,  vice  president;  Ernie  Lang, 
secretary-treasurer,  Mr.  Lang  has  a 
new  duty  as  treasurer;  Izzy  Schwartz, 
financial  secretary;  Steve  DTnzillo, 
business  agent  for  New  York;  Harry 
Garfman.  business  agent  for  Brook- 
lyn and  Queens. 

The  management  supported  Al 
Ashman  for  vice  president. 

Gerson  Cohen,  Archie  Hollander. 
Artie  Klein,  Max  Rosenberg,  Phil 
Shafran  make  up  the  Sick  Commit- 
tee. 

The  executive  board  consists  of 
Herman  Boritz,  Sol  Gabel,  Frank 
J.  Inciardi,  Abe  Kessler,  Max  Kessler. 
Sol  Kirschenbaum,  Irving  Meltzer. 
Frank  E.  Miller,  Tony  Rugino,  Sam 
Salvino. 

Board  of  Trustees:  Al  Sprung. 
Ben  Stern,  Herman  Stoller. 

Richard  F.  Walsh,  the  Interna- 
tional President  of  IATSE,  installed 
the  newly  elected  officers  at  the  regu- 
lar meeting  of  306  Dec.  4. 

iP 


10 


International  Projectionist         December,  1963 


THE  COVER  STORY: 

Kodak  Cover  Girl 
"Most  Photographed" 

The  most  photographed  girl  of  the 
year  is  probablj  not  am  of  the 
glamour  gals  you  see  in  the  maga- 
zine ads.  but  an  attractive  young 
lad)    named    Smith. 

Uthough  her  face  ma)  not  be 
familiar  to  \ou.  it  definitely  is  to 
a     large    group    of    technicians    at 

stman  Kodak  Company  who  are 
concerned  v\  i t h  the  qualit)  ol  kodak 
photographic   film. 

Twenty-year-old  Miss  Sue  Smith. 
5'3"  and  1  In  Ih..  poses  all  da)  long 
for  still  and  motion  pictures,  mostl) 
in  color,  as  part  of  her  job  as  a 
model  in  the  film  testing  division  at 
Kodak  Park  Work-,  where  film  is 
made  She's  been  facing  the  camera 
lens   for  more  than  two  \ears. 

In  an  average  year  Sue  poses  for 

over  Til. 011(1  -till  pictures  and  more 
than  15(1.11(11)  feet  of  movie  film.  She 
is  photographed  in  both  indoor  and 
outdoor  scenes,  in  winter  and  sum- 
mer, under  good  and  poor  lighting 
conditions.  She  poses  on  the  beach, 
in  parks,  in  the  living  room,  at  the 
airport,  in  the  backyard,  on  the  front 
steps  of  a  cathedral  a-  well  as  under 
careful!)  controlled  studio  condi- 
tions. 

I'lie    idea    is    to   duplicate    man)     of 

the  typical  picture-taking  scenes 
laced     b)     amateur     photographers. 

I  he  colors  in  her  clothing  and  in  tin 
props  in  certain  scenes  are  -elected 
to  check  the  color  characteristics  of 
a  particular  film.  Examination  of 
the  negatives  and  prints  also  permits 
judgments  to  he  made  about  film 
sharpness,  contrast,  and  graininess. 

Sue  Smith  is  an  ideal  testing 
model  for  film  because  her  flesh 
tones  are  ver\  close  to  those  of  the 
average  person.  Kodak  technician- 
have  a  precise  idea  of  just  what  flesh 
tones  are  required  after  making 
thousands  of  scientific  measurements 
using  a  spectrophotometer.  Her  light 
brunette  hair  was  just  what  was 
needed. 

When  you  put  these  requirements 
together,  you  don't  have  the  average 
girl.  Far  from  it.  You  have  a  girl 
who  is  photogenic  in  the  technical 
sense  as  well  as  in  the  everydav  mean: 
ing  of  the  word.  A  girl  pretty  enough 
to  be  pictured  water  skiing  in  a  na- 
tional advertisement  bv  Kodak. 

About  a  year  ago  Sue  started  pos- 
ing for  tests  of  Kodak's  newest  film. 
No.  126.  which  goes  into  the  recentlv 

(Continued  on  page   14) 


Need 
repairs?, 


.SvJPE^^ 


Service' 

REG. U.S.PAT.  OFF. 


The  next  time  your  projection  equipment  needs  repairs  ask  your 
dealer  to  install  genuine  LaVezzi  Super  Service  replacement  parts. 
Their  unexcelled  performance  and  long  life  make  them  your  best 
buys  .  .  .  Only  the  finest— since  1908. 


HIGHEST 


SPEED 


IN  PROJECTION 

Kollmorgen  lenses  rate  tops  in  the  motion 
picture  industry.  Used  exclusively  with 
Cinerama,  they  are  standard  equipment 
in  more  than  70  %  of  American  theaters. 
High  light  uniformity  and  less  light  loss 
on  the  screen — the  whole  screen — are  typ- 
ical of  the  outstanding  performance  of 
super  snaplite"  lenses. 

Other  advantages  that  add  up  to  supe- 
rior screening  with  super  snaplite  are: 


Wire  sharp  contrast 
Uniform  illumination 
Crystal  clarity 

Wide  range  of  focal  lengths 
Sealed  construction 


Bulletin  222  describes  Kollmorgen 
lenses  in  detail.  See  your  equip- 
ment dealer,  or  write  us  direct. 


CORPORATION 

NORTHAMPTON.  MASSACHUSETTS 


Dealers  for  the  Strong  Electric  Corp.,  in  attendance  of 
the  TOA  TESMA-TEDA-NCA  convention  and  trade 
show,  heard  a  detailed  description  of  the  features  and 
operational  advantages  of  the  new  Strong  Futura  projec- 
tion lamp  at  the  City  Squire  Motor  Inn,  by  Arthur  J. 
Hatch,  president  of  Strong.  Harold  Plumadore,  product 
engineer  of  the  Strong  motion  picture  division,  discussed 
the  development  of  the  new  lamp  and  answered  technical 
questions.  The  new  Bi-Powr  silicon  type  rectifier,  cold  type 
reflectors,  the  new  Strong  X-16  Xenon  lamp  for  35mm 
and  16mm  projectors,  and  a  new  slide  projector  with 
Xenon  light  source  were  described  by  Clifford  Callender, 
sales  manager  of  the  theatre  equipment  division.  Also  lead- 
ing discussion  was  Bill  White,  field  sales  representative  for 
Strong  Electric.  Dealers  attending  the  meeting  were:  left 
to  right,  standing  -  Al  Boudouris,  Theatre  Equipment 
Co.,  Toledo;  Harold  Plumadore,  Strong  Electric  Corp., 
Toledo;  Frank  Strange,  Charlotte  Theatre  Supply  Co., 
Ci?rJ~**e.  N.  C;  Ernest  Comi,  Capitol  Theatre  Supply 
Co.,  Boston,  Mass.;  J.  W.  McBurnie,  Charleston  Theatre 
Supply  Co.,  Charleston,  W.  Va.;  H.  J.  Ringold,  Ringold 
Theatre  Equipment  Co.,  Grand  Rapids,  Mich.;  H.  J.  Dus- 


man,  J.  F.  Dusman  Co.,  Baltimore,  Md.;  Carl  White, 
Quality  Theatre  Supply  Co.,  Omaha,  Neb.;  Al  Mortsen, 
Southwestern  Theatre  Equipment  Co.,  Houston,  Texas; 
Bob  Tankersley,  Western  Service  &  Supply,  Inc.,  Denver, 
Colo.;  }.  Ed  Miller,  John  P.  Filbert  Co.,  Los  Angeles, 
Calif.;  E.  J.  Peterson,  Abbot  Theatre  Equipment  Co.,  Chi- 
cago, 111.;  Bill  White,  Strong  Electric  Corp.;  Jake  Elder, 
Modern  Sales  &  Service  Inc.,  Dallas,  Texas;  Roy  Smith, 
Roy  Smith  Co.,  Jacksonville,  Fla.;  Seated  -  Arthur  J.  Hatch, 
Strong  Electric  Corp.;  Cliff  Callender,  Strong  Electric 
Carp.;  John  J.  Kenny,  Theatre  Equipment  Co.,  Detroit; 
Lloyd  C.  Pearson,  General  Sound  and  Theatre  Equipment 
Ltd.,  Toronto;  A.  D.  Turnbull,  General  Sound  and  Theatre 
Equipment  Ltd.,  Montreal;  Wm.  Geissler,  Wil-Kin  Inc., 
Atlanta;  Phil  Wicker,  Standard  Theatre  Supply  Co., 
Greensboro,  N.  C;  Armand  Besse,  Besse  Theatre  Supply 
Reg'e,  Montreal;  L.  M.  Wutke,  Pembrex  Theatre  Supply 
Corp.,  Los  Angeles,  Cal.;  G.  Nadeau,  Besse  Theatre  Sup- 
ply Reg'e,  Montreal;  George  Hornstein,  Joe  Hornstein  Inc., 
New  'rork  City;  Hal  Hornstein,  Joe  Hornstein  Inc., 
Miami,  Fla.;  Charles  B.  Kinney,  Modern  Sales  and  Servi.e 
Inc.,  Dallas. 


Split  Audio  System  Designed 
For  New  Skouras  Drive-In 


NEW  YORK— The  Skouras  Route 
17  Drive-In  Theatre  is  equipped  with 
a  sound  system  designed  by  Joseph 
J.  Kelly,  technical  supervisor  for  the 
Skouras/United  Artists  Theatre 
chains,  employs  a  split  audio  dis- 
tribution system  to  channel  the 
sound  to  the  numerous  ramps  com- 
prising the  1200  car  drive-in  theatre. 

Unlike  most  conventional  drive-in 
sound  systems,  the  new  system  util- 
izes a  total  of  ten  75  watt  power 
amplifiers,  each  one  of  eight  am- 
plifiers distributing  sound  to  an  in- 
dividual segment  of  the  field,  the 
ninth  amplifier  feeding  the  conces- 
sion, playground  and  patio  theatre 
areas  and  the  tenth  amplifier  acting 
as  a  standby  unit  that  can  be  switch- 
ed   in    place    of    any    of    the    others 

12 


through  a  specially  constructed 
switching  panel  mounted  in  ore  of 
the  racks. 

The  front  end  of  the  system  con- 
sists of  a  conventional  Century  tran- 
sistorized 2-projector  optical  mag- 
netic system;  the  output  from  the 
projector  reproducers  feed  a  low 
powered  transistor  amplifier  the 
gain  of  which  is  adjusted  to  produce 
an  output  level  of  .7  volt  RMS  at 
1030  cycles.  This  comprises  a  low 
impedence  signal  bus  which  in  turn 
drives  the  ten  amplifiers,  the  in- 
puts of  which  are  all  in  parallel. 
Altec  A-256C  power  amplifiers  are 
used,  each  having  an  individual  level 
control. 

Each  of  the  eight  field  amplifiers 
are   connected    to    an    average    of   75 


Simplex  junction  boxes  equipped 
with  1125  ohm  line  transformers. 
The  impedence  match  is  such  that  all 
amplifiers  operate  at  identical  gain 
settings  and  control  of  sound  to  the 
ramps  is  simply  a  matter  of  turning 
on  or  off  the  individual  amplifiers 
which  are  labeled  to  coincide  with 
the  part  of  the  field  they  serve.  In 
this  manner  the  power  of  the  system 
is  adjusted  to  suit  the  attendance, 
and  no  change  in  volume  or  distor- 
tion content  is  present  when  the  field 
is  lightly  filled  or  jammed  to 
capacity. 

Another  feature  of  this  system  is 
protection  for  short  circuits  in  the 
field  wiring  since  a  short  in  a  junc- 
tion box  post  can  only  affect  at  worst 
Vsjth  of  the  field,  which  if  not  correct- 
ed entails  shifting  cars  in  this  im- 
mediate area  to  any  place  in  the 
other  85%  of  the  field.  A  special 
junction  box  on  the  rear  wall  of  the 
booth  enables  quick  isolation  of 
short  circuits  down  to  an  individual 
ramp  as  the  field  wiring  is  such  that 
all  ramp  feeders  enter  this  box  con- 


Internatioxal  Projectionist         December.  1963 


SKOURAS  ROUTE  17  DRIVE-IN  THEATRE— Left  to  right  are  Phil  Taylor, 
projectionist;  Joe  Kelly,  designer  of  new  sound  system;  Walter  Heaney,  man- 
ager, and  Spyros  Lenas,  zone  manager,  gathered  around  the  new  equipment 
discussed  in   IF  for  November. 


necting  to  designated  barrier  strips. 

Special  input  facilities  consist  <>!  a 
booth  microphone  mounted  <>n  one 
of  the  rack  panels,  a  phonograph 
mounted  on  a  sliding  drawer  also  in 
the  rack  and  a  selector  switch  feed- 
ing an  \ltt-c  L566A  pre-amplifiei 
connected  for  150  ohms  output.  Ilii- 
amplifier  feeds  the  signal  bus  in 
place  of  the  film  input  through  a 
latching  relay,  the  control  ol  which 
is  available  at  each  projector  operat- 
ing position  as  well  as  on  the  rack. 
\  2  circuit  push  button  located  in 
each  Century  optical  sound  head  de 
feats  the  special  input  amplifier 
simultaneously  with  the  sound 
change-over  function  with  a  special 
circuit  arrangement  through  the 
latch  relay  contacts  to  cut-off  power 
to  the  relax  during  normal  change- 
o\ers   while  film   is  in  progress. 

Monitoring  facilities  consist  of  a 
111  position  selector  switch  to  connect 
the  outputs  of  the  power  amplifiers 
to  an  audio  output  meter  and  a  trans- 
istor  monitor  amplifier  and  speaker. 
The   output   meter  has   a  calibrating 


attenuator  .die. id  ol  it  to  permit  the 
meter  to  deflect  to  "O"  when  normal 
level  is  present  at  each  segmenl  ol 
ill.-  Field.  W  iih  this  facility  the  pro- 
jectionist can  (|iiickl\  balance  the 
levels  on  all  amplifiers  b\  running  a 
louo  c\cle  loop  in  either  of  the  pro- 
jectors operating  the  selector  and 
obsen  \i\ii    the   meter  deflection. 

The  concession  building  is  equip- 
ped with  eight  ceiling  speakers  in- 
side  and  two  outside  under  a  por- 
tico: the  patio  theatre  is  equipped 
with  lour  and  the  playground,  two 
\tlas  coaxial  outdoor  speakers 
mounted  on  posts.  These  speakers 
contain  linematcliing  transformers, 
the  impedence  of  which  is  adjusted 
for  a  power  level  in  each  area  that 
will  permit  the  same  gain  setting  on 
Amplifier  9  that  is  present  on  the 
other  amplifiers.  In  addition,  four 
rheostat  potentiometers  are  installed 
on  the  ramp  distribution  box  to  per- 
mit individual  volume  control  or  cut- 
off of  sound  to  each  of  the  special 
locations  without  affecting  the  am- 
plifiers gain  setting.  iP 


PROJECTIONISTS 
PREFER 

ETHYLOID 

Film  Cement  For 
BEST  RESULTS 

Available  from 
Supply  dealers 

FISHER  MFG.  CO. 

1185  Mr.   Read  Blvd. 
Rochester,  N.Y. 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport,  Pa. 


ASHCRAFT 

CORE-LIGHT 

SUPER  CINEX 

CINEX  SPECIAL 

PROJECTION  LAMPS 

And 

HIGH  RECTANCE 

MULTI-PHASE 

RECTIFIERS 

World's  Standard  of 
Projection  Excellence 


CARBON  ARCS   .   .   .   for  finest  Projection   .   .   .   Compact  Xenon  Arcs 


JHowuUne  Ale  QgsJ&hA. 


airman 
•  Brighter  Light  on  Screen 

•  Longer  Burning  per  Carbon 

•  More   Economical   ...  / 


CARBONS,   INC. 


JTJZOJ^ 


products 


\cTrtoAr  LAMPHOUSES  • 

by  Cinemeccanica 


BOONTON,   N.J. 


\rTHQSf  POWER  SUPPLIES 

by  Christie 


International  Projectionist         December.  1963 


13 


America's 
headquarters 

for  all 
theatre  equipment 


supplies 


National 

THEATRE  SUPPLY  COMPANY 


VISITING  FIREMEN  —  Accepting  the  invitation  of  Edward  Lachman,  presi- 
dent of  Carbons,  Inc.,  this  group  of  technicians  toured  the  XeTRON  Division 
projection  test  laboratory  at  the  State  Theatre  in  Boonton,  N.  J.,  recently. 
There  was  considerable  interest  as  they  viewed  and  measured  the  light  output 
of  the  unusual  Xenon  lamphouses  pictured  above. 


COVER  STORY: 

from  page  11 

introduced   Kodapak  cartridge.   This 
cartridge  is  simply  dropped  into  the 


it 


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tapped  into  saver.  There  is  a  "MASTER"  saver  for  every  type  of 
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Kodak  Instamatic  cameras,  thus 
eliminating  loading  and  unloading 
problems. 

Those  posing  for  their  first  picture 
taken  with  an  Instamatic  camera 
using  a  Kodapak  cartridge  are  more 
than  5,000  poses  behind  Sue.  She 
has  been  "snapped"  that  many  times 
and  more  by  photographers  using 
this  new  film  size  as  part  of  the  pro- 
gram to  test  all  films  by  actual  use. 

Some  of  these  pictures  were  taken 
to  test  film  flatness,  which  is  now 
controlled  by  the  Kodapak  cartridge 
rather  than  the  camera.  Uniformly 
sharp  images  over  the  entire  negative 
area  are  an  indication  that  the 
film  is  flat  in  the  cartridge. 

Studies  of  the  keeping  qualities  of 
film  under  a  wide  range  of  tempera- 
ture and  humidity  conditions  also  in- 
volve our  model.  Half  a  roll  of 
film  may  be  exposed  in  photograph- 
ing a  particular  scene.  The  unde- 
veloped film,  still  in  the  camera,  is 
then  placed  in  a  special  room  where 
the  temperature  and  humidity  re- 
produce the  hottest  and  most  humid 
of  summer  days.  Still  other  rolls  are 
stored  where  the  temperature  may 
be  below  zero.  Weeks  or  months  later 
the  film  and  camera  are  removed 
from  the  room,  and  the  same  scene  is 
photographed.  Then  the  entire  roll 
of  film  is  developed  and  the  results 
compared. 

The  more  technical  film  testing 
procedures,  in  which  Sue  does  not 
participate,  yield  data  in  the  form  of 
charts,  graphs,  or  tables.  Data  pro- 
cessing equipment  is  used  to  obtain 
quickly  many  of  the  required  an- 
swers in  numerical  terms.  iP 


14 


International  Projectionist         December,  1963 


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PRACTICAL 


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SECTION      HEADINGS 


(1)  Film;  (2)  The  Projector;  (3)  Projection-Optics,  Screens;  (4)  The  Arc  Lamp; 
(5)  General  Projection  Practice;  (6)  Motors,  Generators,  and  Rectifiers;  (7) 
Sound    Reproduction   Systems;    (8)    Projection   of  Color  and  3-D   Films,   Formulas. 


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OPERATORS  OF  THE  UNITED  STATES  AND  CANADA 

Affiliated  with   the  A.F.L.-C.I.O. 


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HARLAND   HOLMDEN 

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With   Projectionist  Charles  Linett  standing 
this  is  the  booth  of  the  34th  St.   East,  newest 
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All  the  way  up  the  61  steps  to  packaging,  the 
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INTERNATIONAL 

PROJECTIONIST 

Including  a  special  Audio-Visual 
section  relating  to  the  operation 
and  maintenance  of  A-V  equip- 
ment in  the  educational  and  in- 
dustrial fields. 


January    1964 
Volume  39  No.   1 


FRANK   W.    COOLEY,    JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive    Publisher 

AL    BLOOM 
Managing    Editor 

TOM    KENNEDY 
Equipment    Editor 


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IN   THIS   ISSUE 

Tinted    Release  -  Print 

Film  -  Conclusion  4 

By  Robert  A    Mitchell 

Picture  News  12 

Kollmorgen's  Talaria  Lenses      13 

A-V  Design  Conference  1  4 

News  Notes — Technical  Hints — 
Miscellaneous  Notes 


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35  and  70mm 


viiMHi 


•  ■-::., 

"*. * . .. 


International  Projectionist        January,  1964 


Volume  39 


INTERNATIONAL   PROJECTIONIST 


January,    1964 


Number   1 


A  Neglected  Asset: 


TINTED  RELEASE-PRINT  FILM 


By  ROBERT  A.  MITCHELL 


PART  II 


Tinting  the  screen  with  a  dominant  color  tone  to  match 
the  mood  of  the  scene,  with  an  appropriate  change  of 
color  with  each  change  of  mood,  time,  or  locale,  is  a 
trick  of  the  trade  so  well  known  and  so  emphatically  ef- 
fective in  the  days  of  the  silent  films  that  it  seems  almost 
ridiculous  to  belabor  the  manifold  virtues  of  tinted-base 
print  films.  But  hammer  away  we  must:  the  art  of  utiliz- 
ing tinted  release  positive  for  monochrome  ("black-and- 
white"  )  productions  is  at  present  totally  neglected  to  the 
detriment  of  screen  and  boxoffice  alike. 

Interference  with  the  reproduction  of  the  optical  sound- 
track is  no  longer  a  valid  excuse  for  the  abandonment  of 
this  effective  instrument  of  cinematic  art.  The  first  in- 
stallment of  this  article  demonstrated  conclusively  that 
no  color  of  tinted  film  noticeably  attenuates  sound  vol- 
ume when  the  common  infrared-sensitive  photocell  or 
phototransistor  is  used  in  the  soundhead.  The  entire 
question  boils  down  to  a  matter  of  showmanship,  an  alert 
recognition  of  the  uniquely  visual  character  of  entertain- 
ment motion  pictures.  Why  should  the  theatre  screen 
remain  stripped  bare  of  a  most  useful  dramatic  embel- 
lishment? Why  should  moviegoers  be  subjected  in  the 
theatre  to  the  same  monotonously  unexpressive  and  vis- 

4 


ually  unattractive  gray  image  tones  that  they  see  all  the 
time  at  home  on  black-and-white  TV? 

Remember — about  90  per  cent  of  all  feature-film 
print  footage  was  tinted  in  the  days  when  black-and- 
white  movies  were  undeniably  very  attractive  pictorially 
and  dramatically  powerful.  Of  course,  we  have  superb 
natural  color  today,  but  the  majority  of  feature  pictures 
are  still  photographed  in  monochrome,  a  practice  that 
should  continue  because  monochrome  seems  best  suited 
to  the  more  emotional  type  of  screen  play. 

The  theatre  screen  is  vastly  superior  to  television  as 
an  audiovisual  medium.  It  is  large  and  panoramic:  it  is 
pictorially  superior  to  TV,  presenting  images  of  greater 
clarity  and  with  a  wider  range  of  lifelike  photographic 
contrasts:  it  does  not  "fog  over"  on  low-key  scenes:  it 
has  no  disturbing  scanning-line  pattern:  it  presents  nat- 
ural color  of  much  higher  quality  than  even  the  very  best 
color  TV:  it  is  able  to  offer  stereophonic  sound  of  the 
highest  audio  fidelity.  The  theatre  screen  formerly  did. 
and  could  right  now,  appropriately  color  by  means  of 
tinted-base  film  and  toned  photographic  images  its  mono- 
chrome offerings,  thus  enhancing  the  pictorial  values 
and  scene-to-scene  moods  of  pictures  not  photographed 

International  Projectionist         Januarv.  1964 


In  natural  color.  The  power  of  the  theatre  screen  to  ab- 
sorb the  interest  of  the  audience  would  be  increased:  the 
small  stature  of  TV  as  a  dramatic  medium  would  be  di- 
minished even  more,  inasmuch  as  the  tiny  screen  of 
monochrome  TV  is  imprisoned  in  a  dreary  little  world 
of  chalky  highlights  and  emotionally  neuter  shades  of 
gra] . 

Natural    Color   Limits   "Mood    Color" 

Although  the  psychological  use  of  color  is  by  no 
means  absent  from  the  modern  theatre  screen,  natural 
color  must  look  natural  at  all  costs,  and  hence  limits  by 
its  ver)  nature  the  variet)  and  scope  of  the  color  effects 
that  the  imaginative  producer  can  employ.  It  is  well 
known  that  the  public  insists  upon  flesh  tones  redder 
than  those  of  real  life  in  Technicolor  pictures,  but.  aside 
from  this,  the  chromatic  rendition  of  natural  color  can- 
not be  violated  in  an  attempt  to  flood  the  screen  with  a 
color  tone  to  express  the  dominant  emotion  built  up  in 
an)    particular  sequence. 

The  most  that  can  be  done  with  mood  coloring  in 
natural-color  productions  consists  of  minor  variations  in 
-ft  and  costume  color  tones.  But  the  faces  of  the  players 
ami  all  other  significant  pictorial  detail  must  consistent- 
K  be  rendered  in  their  natural  colors  in  order  to  avoid 
grotesque  results  which  the  average  moviegoer  would 
interpret  as  serious  color  distortion.  So  it  is  that  violet 
lighting  cannot  be  used  In  generate  a  feeling  of  m\ster\ 
and  foreboding,  nor  green  lighting  to  emphasize  hate  or 
envy,  nor  bright  yellow  to  express  hope  or  happiness,  nor 
pink  to  enhance  a  feeling  of  beauty  or  a  romantic  mood. 
The  natural  color  of  green  Foliage  might  be  destrov  ed : 
the  painstakingly  selected  color  of  costumes  and  set  fur- 
nishings would  be  distorted,  and  the  effects  of  the  tinted 
lighting  on  the  actors"   face-  ran    well   be   imagined. 

Tinted  and  toned  black-and-white  film-  are  complete- 
l\  exempt  from  this  consideration.  The  screen  ma\  be 
flooded  with  sunshiin  \ellow  to  intensih  cheerful,  viva- 
cious  emotions,  with  amber  to  express  a  -unset  or  western 
mood,  or  the  coz)  warmth  of  firelight,  with  layender  to 
enhance  an  atmosphere  of  m\ster\  and  solemnitx.  with 
pink  to  express  Frivolous  gaiety,  romance,  or  sensuous 
luxury,  with  blue  to  con\e\  the  impression  ol  moonlight 
and  a  nocturnal  mood,  with  green  to  create  a  feeling  of 
the  sea.  etc..  etc. 

And  extremely  important  in  the  dramatic  application 
of  tinted  films  is  the  well-known  fact  that  the  psycho- 
logical effect  of  the  color  imparted  to  any  specific  scene 
persists  even  after  the  initial  physical  awareness  of  the 
color  has  been  dulled  by  visual  adaption  to  it.  Color 
really  works  for  the  screen  dramatist! 

Director   Wellman's   Color   Artistry 

Attempts  to  use  color  psychologically  in  Hollywood's 
natural-color  productions  have  been  very  numerous,  and 
most  of  them  successful.  William  A.  Wellman.  the  noted 
director,  was  among  the  first  to  study  and  use  contextual 
color  in  a  systematic  manner.  He  conducted  a  survey  and 
set  down  the  emotional  effects  and  associational  conno- 
tations of  a  few  basic  colors  in  the  form  of  a  chart  which 
was  useful  to  him  as  a  working  guide  for  his  Technicolor 
filming. 

In  one  of  his  earlv  films.  Nothing  Sacred,  Mr.  Well- 
man  took  special  pains  to  color-key  the  costumes  of  his 
players  to  the  prevailing  dominant  mood  according  to 
his  oun  conception  of  general  emotional  reactions  to  spe- 
cific colors. 

Said  Mr.  Wellman :  ""Grayness.  more  than  black,  is 
the  dismal  color  of  death.  Yet  when  gray  is  brightened 
with  the  metallic  luster  of  silver,  it  becomes  something 
else  again.  In  a  scene  in  Nothing  Sacred,  Carole  Lombard 

International  Projectionist        January,  1964 


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wore  such  a  dress ;  and  its  effect  was  to  accent  her  blonde 
beauty,  to  heighten  the  tones  of  her  hair. 

In  another  scene  in  Nothing  Sacred,  a  sad,  lugubrious 
effect  was  desired,  and  both  Miss  Lombard  and  Frederic 
March  wore  dark,  dull-brown  clothing.  The  predominat- 
ing colors  of  the  scene  were  browns  and  blacks.  On  the 
other  hand,  a  night-club  sequence  in  this  same  picture 
was  a  veritable  rainbow  of  warm,  gay  colors — reds,  pur- 
ples, and  gold.  They  conditioned  a  happy,  joyous  mood. 

"Our  conclusions  anent  color  mood-conditioning  are 
based  on  the  average  norm  of  amny  reactions.  In  such 
a  survey  as  we  could  undertake,  it  was  impossible  to 
consider  individuals  except  as  they  influence  mass  calcu- 
lations." 

It  is  Mr.  Wellman's  belief  that  the  color  preference  of 
an  individual  has  nothing  to  do  with  his  reactions  to  color 
on  the  screen.  If  this  condition  obtained,  it  would  be 
impossible  to  formulate  an  emotional  scale  of  colors  for 
screen  use.  Conditioning  moods  with  color  appears  to  be 
dependent  largely  upon  instinctive  color  reactions  and  to 
color  symbolism  based  upon  psychological  and  physical 
associations.  A  very  large  book  could  be  written  on  the 
subject. 

Black,  gray,  and  brown  are  rather  negative  colors  in 
Wellman's  color  chart:  white  is  affirmative  (which  it 
would  not  be  in  China,  as  white  is  the  Chinese  color  of 
mourning! ).  The  four  saturated  hues  in  his  list  —  blue, 
green,  red,  and  yellow  —  are  accorded  positive  conno- 
tations. This  indicates  a  rather  limited  appraisal  of  the 
effect  of  color,  however,  inasmuch  as  an  older  evaluation 
compiled  by  Dr.  Lloyd  A.  Jones  as  a  guide  to  the  use  of 
tinted-base  films  takes  account  of  the  ambivalent  char- 
acter of  certain  colors  —  positive  and  uplifting  in  certain 
dramatic  and  scenic  contexts,  negative  and  subduing  in 
others. 

Ambivalent   Colors 

The  strongest  examples  of  emotional  ambivalence  are 
to  be  found  among  such  "transitional"  colors  as  lemon- 
yellow  and  chartreuse  (yellow-green),  cyan  and  tur- 
quoise-blue, and  purple,  amaranth,  and  magenta.  A  yel- 
low-green, for  example,  may  suggest,  on  the  positive  side, 
springtime  freshness,  youthfulness,  gladness,  joyous  ex- 
pectation, etc.,  or,  on  the  negative  side,  squalor,  sickli- 
ness, hopelessness,  loathing,  etc. 

It  is  significant  that  a  greenish  yellow  or  yellow-green 
corresponding  to  the  hue  popularly  known  as  chartreuse 
was  absent  from  the  colors  supplied  in  the  otherwise  in- 
clusive range  of  Eastman  Kodak  tinted-base  positive  films. 
This  may  have  been  due  to  their  strong  ambivalence  and 
the  resulting  uncertainty  of  their  application  in  motion 
pictures,  but  Dr.  Lloyd  A.  Jones  of  the  Kodak  Research 
Laboratories  pointed  out  that  colors  of  the  yellow-green 
range  have  been  found  to  be  the  least  agreeable  or  least 
preferred  in  all  surveys  conducted  to  determine  color 
preferences. 

Be  this  as  it  may,  the  writer  remembers  that  the  old 
Universal  Film  Co.  frequently  dye-tinted  scenes  a  bright 
greenish  yellow  (lemon)  in  the  days  of  silent  pictures  to 
express  the  sunshiny,  joyous  moods  usually  associated 
with  a  warmer  yellow,  and  also  that  this  choice  of  film 
color  was  generally  disliked  by  color-conscious  projec- 
tionists. 

Dramatically   Versatile   Colors 

The  emotional  ambivalence  of  colors  does  not  neces- 
sarily limit  their  usefulness  on  the  motion-picture  screen. 
The  bluish  greens  and  greenish  blues,  for  example,  or, 

6 


more  important,  the  purples  and   amaranths    (magenta- 
purples)  . 

Vivid  aquamarines  and  cyans  are  handsome  and  use- 
ful colors  in  the  art  of  tone-coloring  the  screen,  and  pos- 
sess many  positive  dramatic  connotations  —  summery 
calm,  repose,  tropical  seas  under  clear  skies,  tranquility 
without  depression,  etc.  However,  there  is  an  unsavory 
quality  about  aquamarine  and  cyan  ( and  to  a  lesser  ex- 
tent about  turquoise)  which  is  well  expressed  by  the 
popular  term  "poisonous  green."  ( Could  this  be  an  un- 
conscious association  of  the  color  with  the  coldly  beau- 
tiful, but  intensely  poisonous,  arsenic-containing  pigment 
emerald  green  or  Paris  green?)  This  ambivalence  creates 
confusion  and  somewhat  restricts  application  of  these 
particular  colors. 

Purple,  amaranth,  magenta,  and  to  some  extent  cerise 
( red-magenta )  are  also  ambivalent,  though  much  more 
versatile  and  of  wider  usefulness.  The  tints  of  magenta 
and  cerise,  for  instance,  are  the  ever-popular  cool  pinks 
and  rose  tints  without  which  the  user  of  tinted-base  prints 
would  feel  severely  handicapped. 

Purple  may  be  described  as  violet  with  a  touch  of 
magenta  or  pink,  and  is  undeniably  a  dangerous  color  to 
use  on  the  screen.  In  certain  context  it  suggests  royalty, 
dignity,  pomp,  and  opulence,  and  in  other  contexts  it 
admirably  creates  an  atmosphere  of  luxurious  revelry, 
abandoned  sensuality,  degradation,  and  sexual  depravity 
in  the  haute  monde. 

Magenta  and  cerise,  together  with  their  rose-pink 
tints,  suggest  refined  luxury,  an  elegant  way  of  life,  and 
a  romantic  mood.  At  lower  screen  brightnesses  or  in 
stronger  color  saturations  they  tend  toward  connotations 
of  violent  passion.  In  fact,  if  we  pass  on  through  cerise 
to  red,  wc  arrive  at  the  most  intensely  violent  of  all  col- 
ors. The  use  of  red  film  in  the  heyday  of  tinted-base 
positive  was  usually  confined  to  scenes  in  which  the  color 
had  a  physically  objective  association,  such  as  fiery  holo- 
causts, night  battles  in  which  artillery  fire  flashes  vio- 
lently, and  the  like.  But  red  film  has  been  employed  many 
times  to  intensify  a  mood  of  violence  and  excitement, 
unbridled  passion,  active  evil,  and  many  varieties  of  de- 
structively strong  emotion. 

The  family  of  amber  tints  ranging  from  vermilion 
through  orange,  pyridian,  and  saffron,  together  with 
their  peach  and  soft-amber  tints,  gained  the  widest  use 
of  all.  In  fact,  most  silent-film  features  were  printed  in 
their  entirety  on  amber  film;  but  this  thoughtlessly  indis- 
criminate use  of  just  one  color  tended  to  diminish  the 
atmospheric  potentialities  of  tinted  film.  At  any  rate, 
the  amber  tint  "settled"  the  audience  in  a  dramatic  mood 
more  effectively  than  plain  black-and-white  film,  and  it 
also  increased  viewing  comfort  by  softening  the  cold 
glare  of  unfiltered  projection  lighting. 

To  be  most  effective,  the  color  of  tinted-base  film 
should  be  judiciously  matched  to  (1)  the  mood  of  the 
scene  or  to  (2)  the  time  of  day  or  the  season  depicted 
or,  closely  connected  in  physical  context.  I  3 )  the  locale, 
interior  or  exterior. 

It  is  well-nigh  impossible  to  correlate  the  physical 
association  of  colors  (time,  locale,  and  depicted  objects) 
with  their  emotional  connotations  ( mood,  mental  state, 
or  that  indefinite  psychic  "feeling"  called  "atmosphere"), 
or  to  classify  the  emotional  characteristics  of  ambivalent 
colors  which  depend  so  largely  upon  dramatic  and  scenic 

International  Projectionist        January.  1964 


context.  I  hese  colors  surest  one  mood  or  emotional 
state  in  one  scene,  and  an  entirely  different  emotional 
feeling  in  a  scene  of  different  character. 

It  is  a  simple  matter  to  draw  up  a  list  of  colors  — 
red.  orange,  yellow,  etc..  and  even  include  all  the  tints 
of  these  colors  conceivablv  useful  to  the  motion-picture 
dramatist  —  but  it  is  next  to  impossible  to  match  them 
in  an)  systematic  wav  with  a  list  of  dramatic  moods  or 
generalized  emotion-,  such  as  the  following  one  which 
contains  tour  positive  and  four  negative  emotional  states 
arranged  in  graded  order  with  a  neutral  midpoint  I  "in- 
difference" i  : 

Incitement    i  Passion  I  -) 1 ( (- 

Joy    I  Satisfaction  i  -)-  H h 

Contentment  (Satisfaction)  -j-  -j- 

Iwpectation    I  Hopefulness  I  -|- 

lndifference    I  Knnui  I  0 

Apprehension   I  Anxierj  I  — 

Fear   I  Aversion  i 
Hatred    i  Aversion  I 
Terror   I  Anguish  i 
I  his  is  win   simplified  color-mood  charts  of  the  kind 

drawn  up  l>\   William    \.  \\  ellman  are  necessarilv    limited 

in  scope  and  restricted  in  applicability. 

The    Important   "Jones    Paper" 

The  most  complete  and  practical  color  guide  for  the 
producer  contemplating  the  use  of  tinted  release-print 
stock  is  contained  in  an  old  paper  b\  Dr.  Lloyd  \.  Jones, 
"Tinted  Films  for  Sound  Positives."  published  in  the 
Transactions  of  the  Society  of  Motion  Picture  Engineers, 
Vol.  Mil.  No.  37,  l')2«).  pp.  199-226. 

Following  are  excerpts  from   Dr.  Jones'  suggestions 

regarding  appropriate  application  of  the  seventeen  tinted- 
base  35-mm  positive  films  manufactured  1>\  Eastman 
Kodak  and  verv  widelv  used  until  the  advent  of  sound- 
oii-film.  I  The  light  grav  neutral-base  film  called  '"  \rgent" 
is  omitted  because  of  its  lack  of  hue  and  incompatibility 
with  the  optical  soundtrack.) 

These  35-year-old  suggestions  are  revived  here,  not 
just  to  reopen  memory  lane  to  old-time  motion-picture 
men.  but  because  they  are  important  enough,  valid 
enough,  to  inspire  later  comers  with  the  creative  use  of 
screen  mood-coloring  via  the  movies'  neglected  asset, 
tinted-base  release-print   film. 

#  #  • 

Tint  \<>.  1.  Nose  Doree.  A  deep  warm  pink  suggesting 
3ensuousness  and  passion.  Amorous,  romantic,  and  ex- 
otic. It  is  adapted  to  the  rendition  of  scenes  representing 
an  intimate  atmosphere,  such  as  a  luxuriously  appointed 
boudoir.  In  keeping  also  with  feelings  of  happiness,  joy. 
and  excitement. 

7 int  No.  2,  Peachbloiv.  A  delicate  flesh-pink.  This  has 
a  small  but  definite  blue  content,  making  it  somewhat  less 
warm  than  Afterglow.  It  is  adapted  to  the  rendition  of 
close-ups  where  it  is  desired  to  do  full  justice  to  feminine 
beauty.  The  hue  and  saturation  are  such  as  to  suggest 
the  glow  of  life. 

Tint  1X0.  3,  Afterglow.  A  soft  rich  orange  color.  It  is 
probably  the  warmest  color  of  the  series.  It  is  appropriate 
to  exterior  scenes  at  dawn  and  sunset.  /The  magenta-pink 
film  called  Caprice  seems  more  appropriate  for  dawn 
scenes.  (R.A.M.)  It  lends  to  interiors  an  atmosphere  of 
warmth  and  intimacy  stronger  than  Firelight.  It  should 
excite  mood  reactions  in  general  connected  with  luxury, 
wealth,  security,  and  relatively  strong  affections.  It  is 
also  related  to  the  autumnal  mood  by  obvious  direct  as- 
sociation with  the  autumn  colors  of  nature.  By  indirect 

International  Projectionist        January,  1964 


or  subjective  association  it  is  symbolic  of  the  same  rela- 
tive period  in  the  life  of  an  individual  and  its  associated 
moods.  It  is  indicative,  therefore,  of  repose,  ambitions 
attained,  accomplishment,  and  similar  psychological  as- 
pects of  maturity. 

Tint  No.  4,  Firelight.  A  soft  yellow-orange.  This  is 
warmer  than  Candleflame  to  which  it  is  closely  akin  in 
mood-reaction  value.  It  is  particularly  adapted  for  use  on 
an  interior  scene  where  it  is  desired  to  suggest  an  artifi- 
cial illumination  softened  and  subdued,  perhaps,  by  shad- 
ed lamps  and  candles.  It  is  suggestive  also  of  illumination 
emanating  from  an  open  fire:  but  it  is  not  quite  orange 
or  red  enough  to  satisfactorily  render  the  fire  itself  if 
visible,  for  which  Afterglow  is  perhaps  better.  It  stimu- 
lates mood  reactions  of  the  same  category  as  Candle- 
flame,  but  with  greater  intensity.  Suggestive  of  warmth, 
comfort,  intimate  home  relationships,  mild  affection,  etc. 

Tint  No.  5,  Candleflame.  A  pastel  orange-yellow.  It  is 
•dightlv  lower  in  transmission  than  Sunshine,  giving  a 
screen  more  orange  in  hue  and  lower  in  brilliance,  which 
definite!)  suggests  artificial  illumination  when  used  on 
interior  scenes.  Somewhat  warmer  than  No.  6.  Possibly 
useful  on  exteriors  in  suggesting  morning  or  afternoon 
with  less  intense  sunlight  than  prevails  at  midday.  By 
objective  association  useful  in  inducing  rather  mild  mood 
reactions  such  as  feelings  of  coziness,  comfort,  intimacy, 
well-being,  peace  and  plenty  without  opulence,  etc. 

Tint  Vo.  6,  Sunshine.  A  clear  brilliant  yellow  approx- 
imate!) complementary,  to  sky-blue,  therefore  quite  close- 
Iv  matching  the  subjective  color  of  sunlight  when  seen 
in  contrast  to  blue  sky.  The  visual  transmission  is  high; 
therefore  it  is  particularl)  adapted  for  use  on  a  scene 
designed  to  give  the  impression  of  brilliant  sunlit  con- 
ditions and  where  an  interior  is  obviously  illuminated  by 
sunlight  entering  through  windows  and  open  doors.  This 
color  is  definitelv  warm,  but  not  to  the  same  extent  as 
Candleflame.  Firelight,  and  Afterglow  which  make  with 
lhi>  color  a  series  increasing  progressively  in  warmth.  It 
is  mildlv  stimulating,  suggesting  a  mood  of  lively  interest 
and  attention,  but  not  one  of  high  excitement  or  nervous 
tension. 

(Most  1-  and  2-reel  slapstick  comedies  of  silent-movie 
days  were  printed  on  clear-base  film.  When  tinted-base 
stock  was  used  for  these  pictures,  yellow  "Sunshine'"  film 
was  chosen.  R.  A.  M.) 

Tint  No.  7,  Verdante.  A  pure  green,  rather  pastel  in 
character.  It  is  the  hue  of  spring  foliage,  suggesting  di- 
rectly trees,  grass,  and  vernal  landscapes.  By  subjective 
association  typical  of  youth,  freshness,  unsophistication, 
innocence,  etc.  It  is  only  slightly  warm,  but  definitely 
not  cold.  It  is  very  close  to  the  neutral  point  in  the 
warm-cool  scale. 

Tint  No.  8,  Aquagreen.  A  brilliant  blue-green.  The 
color  of  more  northern  waters  and  suitable  to  the  ren- 
dition of  the  sea  under  clouds  and  in  storm.  It  is  sug- 
gestive of  wetness.  Its  transmission  being  lower  than 
that  of  Verdante,  it  gives  a  less  brilliant  screen.  This 
together  with  its  greater  blue  tint  probably  makes  it  more 
suitable  for  the  rendition  of  the  darker  green  of  mature 
foliage,  dense  forests  of  pine,  jungles,  etc.  By  extension 
from  the  objective  correlation  to  summer,  it  is  suggestive 
of  such  mood  reactions  as  pertain  to  maturity,  wisdom, 
dignity,  repose,  and  restfulness.  It  is  cool  but  not  cold: 
tranquil,  but  not  subduing. 

Tint  No.  9,  Turquoise.  A  clear  brilliant  blue.  It  is 
definitely  cool,   but  less  cold  than   Azure   or   Nocturne. 

(Please  turn  to  page  12) 

7 


Type  A704_the  uniform 
magnetic  sound  recording  film 


HEAR  THE  DIFFERENCE:  "R-type" 
binder  — an  entirely  new,  smoother, 
homogeneous  oxide  layer— reduces  tape 
noise  and  intermodulation  distortion. 

Extremely  tough,  wear-resistant,  but 
without  abrasiveness,  it  minimizes  oxide 
build-upon  recordingand  pick-up  heads. 

With  its  high  chemical  stability,  it 
makes  for  long  life,  prolonged  usefulness 
of  the  recorded  library. 

And,  most  important,  new  "R-type" 
binder  permits  uniform  oxide  coatings  of 
superb  magnetic  characteristics.  Its  high 
output  and  low  print-through  result  in 
excellent  reproduction  quality  — more 
vibrant  highs,  a  more  natural  balance 
between  highs  and  lows. 


EDGE  SLITTING  exerts  great  influence  on  ulti- 
mate audio  quality;  uneven  tracking  introduces 
intermodulation  distortion.  Note  loose  particles 
on  rough  guiding  edge  shown  in  photomicro- 
graph of  conventional  film  at  left  compared  to 
evenness  of  EASTMAN  Magnetic  Sound  Record- 
ing Film  at  right. 


SEE  THE  DIFFERENCE:  Printed  on  the 
back  of  the  new  Type  A704  film  is  the 
permanent  legend  "Eastman  KodakCo.," 
together  with  a  series  of  dispersion  num- 
bers. This  "Life-Time  Coding"  provides  a 
convenient,  accurate  means  of  indexing 
film  by  content,  a  useful  reference  for 
logging  of  optimum  bias  settings,  re-use 
and  purchase  data.  What's  more,  it  is 
your  assurance  of  highest  quality. 


PERFORATING  affects  audio  fidelity.  Note  the 
superior  perforations  of  the  Eastman  product  at 
right  compared  to  the  uneven  perforations  of 
conventional  film  at  left.  Eastman  perforating 
is  known  for  quality,  for  conformance  to  high 
standards  and  for  rigorous  uniformity. 

AVAILABLE  NOW:  16,  17Vfe  and  35mm 
widths  in  a  complete  range  of  cores  and 
windings.  For  further  information  about 
EASTMAN  Magnetic  Sound  Recording 
Film,  Type  A704,  as  well  as  the  new 
EASTMAN  Sound  RecordingTapes,  write: 


MOTION   PICTURE  PRODUCTS  SALES  DEPT. 

EASTMAN  KODAK  COMPANY,  Rochester,  N.Y.  14650 


Letters... 

to   tl3.e    editor 


Gentlemen: 

We  are  subscribers  to  your  maga- 
zine for  many  years  and  would  ap- 
preciate your  information  at  this 
time  as  to  the  following: 

We  believe  that  from  long  exper- 
ience in  the  Theatre  Industry,  some 
conclusive  figures  are  available  in 
regard  to  the  proportional  screen 
sizes.  We  would  like  to  know  what 
recommendable  relationship  has  been 
determined  between  the  dimensions 
of  screen  pictures  in  standard,  pan- 
oramic, CinemaScope  and  70  mm 
projections. 

J.  Datshkovsky 

Cinema  Division 

West  rex  Co.,  Mexico 

There  is  considerable  evidence 
that  non-anamorphic  35-mm  projec- 
tion is  becoming  standardized  at  a 
"widescreen"  aspect  ratio  of  1.75/1. 
using  a  projector  film  aperture 
measuring  0.825  inch  wide  by  0.600 
inch  high.  Screen  light  falls  off  and 
image  quality  deteriorates  when 
higher  aspect  ratios  are  used  for  the 
projection  of  regular  prints;  and  the 
old  conventional  3:4-proportioned 
ratio  of  1.333/1  (more  exactly 
1.375/1)  is  now  considered  too 
nearly  square  in  shape  to  suit  the 
tastes  of  moviegoers  who  are  now 
accustomed  to  the  more  panoramic 
visual  sweep  of  widescreen  pictures. 

Many  responsible  film  producers 
in  Europe  and  America  recommend 
the  1.75/1  aspect  ratio  for  the  most 
satisfactory  widescreen  type  of  pre- 
sentation with  standard  35-mm 
prints.  We  heartily  endorse  this  re- 
commendation. Accordingly,  we  feel 
that  there  is  no  longer  any  need  for 
such  aspect  ratios  as  1.66/1. 
1.85/1,  and  2/1,  all  of  which  have 
been  used  to  some  extent  for  show- 
ing regular  35-mm  prints. 

Originally  2.55/1,  CinemaScope 
was  standardized  at  an  aspect  ratio 
of  2.35/1  by  the  addition  of  an  op- 
tical soundtrack  to  the  four  magnetic 

EQUIVALENT 

1.75/1     widescreen     lens     = 
2.35/1    C'Scope    lens    E.F. 
2.35/1     70-mm    lens    E.F. 
Conversely: 

1.75/1  Widescreen  lens  = 
2.35/1  C'Scope  prime  lens  = 
2.35/1  70-mm  lens  =  1 
2.35/1     70-mm     lens      = 

10 


soundtracks  on  CinemaScope  prints. 
The  CinemaScope  film  aperture 
measures  0.839"  x  0.715".  and  an 
anamorphic  expansion  factor  of  2X 
doubles  the  width  of  the  projected 
image. 

The  Todd-AO  70-mm  projector 
aperture  measures  1.913"  x  0.866". 
giving  an  aspect  ratio  of  2.21/1.  It  is 
very  desirable,  however,  to  reduce 
the  height  of  the  70-mm  aperture  to 
0.814  inch  in  order  to  conform  ex- 
actly to  the  CinemaScope  aspect 
ratio  of  2.35/1.  We  therefore  regard 
a  1.913"  x  0.814"  70-mm  aperture 
as  the  most  serviceable  standard  for 


wide-gauge  film. 


It  is  good  practice  to  select  a  set 
of  projection  lenses  which  will  give 
the  same  height  of  picture  on  the 
screen  with  all  of  the  various  aper- 
ture sizes  and  widths  of  film.  It  is 
a  simple  matter  to  calculate  the  lens 
focal  lengths  needed  if  it  has  previ- 
ously been  established  what  focal 
length  is  satisfactory  for  one  size 
of  aperture  used.  If  a  certain  lens 
E.F.  (equivalent  focus)  gives  the 
right  picture  height  with  the  old  con- 
ventional 1.375/1  aperture,  multiply 
this  E.F.  by  the  following  factors  to 
obtain  the  correct  focal  lengths  for 
(a)  1.75/1  non-anamorphic  wide- 
screen  35-mm  projection,  (b)  2.35/1 
CinemaScope  35-mm  projection,  and 
(c)  2.35/1  70mm  projection  (see 
table  I . 

It  is  not  always  possible  to 
"match"  lens  focal  lengths  exactly, 
but  usually  one  can  come  close 
enough  to  maintain  very  nearly  the 
same  projected-picture  heights  with 
all  processes.  Of  course,  whatever 
picture  height  is  chosen,  the  screen 
should  be  wide  enough  to  accom- 
modate the  full  2.35/1  Cinema- 
Scope and  70-mm  images.  That  is, 
the  width  of  the  screen  should  be 
2.35   times   its  height. 

Some  of  these  aspect-ratio  prob- 
lems were  discussed  in  several 
articles     published      in      INTERNA- 

FOCUS   FACTORS 

=     C'Scope   prime   lens   x  0.6587 

=    1.375/1   lens  E.F.  x  1.1917 

=     1.375/1   lens   E.F.   x  1.3567 

=     C'Scope   prine   lens   x   0.6587 

1.75/1  widescreen  lens  x  1.5180 

75/1    widescreen   lens    x    1.7282 

C'Scope     prime     lens     x     1.1385 


TIONAL  PROJECTIONIST,  e.g. 
"Non-Anamorphic  Aspect  Ratios:  a 
Return  to  Sanity"  (Dec.  1961).  Of 
special  interest  are  the  two  articles 
under  the  title  "Glamourizing  the 
Screen"  in  the  current  September 
and  October  issues  of  IP. 

Tables  of  projected  picture  sizes 
with  various  lenses,  apertures,  and 
projection  distances  or  "throws"  are 
published  by  the  manufacturers  of 
lenses:  where  these  are  not  available, 
the  height  of  the  projected  picture 
may  be  calculated  by  means  of  the 
following  formula,  the  same  linear 
units  ( inches  or  centimeters )  being 
used  throughout: 

Picture  height  = 

Throw    x    Aperture    height 

Focal    length    (E.F.)    of    lens 

This  formula  assumes  a  0°  projec- 
tion angle.  If  a  steep  projection 
angle  prevails,  the  picture  height 
will  be  greater  than  calculated.  In 
such  a  case  use  the  trigonometric- 
formula  on  p.  423  of  "Mitchell's 
Manual  of  Practical  Projection." 

There  is  considerable  leeway  al- 
lowable in  the  size  and  shape  of  the 
seating  area  in  a  motion-picture 
auditorium.  Above  all,  the  picture 
should  be  large  enough  to  be  viewed 
comfortably  from  even  the  most  dis- 
tant seats.  In  general,  we  recom- 
mend that  the  front  row  of  seats  be 
2  "picture  heights"  distant  from  the 
screen,  and  that  the  back  row  of 
seats  be  no  farther  away  than  6 
"picture  heights"  from  the  screen 
— regardless  of  the  width  of  the  pic- 
ture, which  will  presumably  vary 
from  1.75  to  2.35  times  the  picture 
height.  Moreover,  the  width  of  the 
seating  area  should  not  exceed  4 
times  the  picture  height.  As  we  said, 
there   is   no   hard-and-fast  rule. 

iP 

Hornstein  Furnishes 
Nassau  Theatre 
Projection   Equipment 

NASSAU,  B.  W.  I.  —  The  new 
Shirley  Street  Theatre  has  a  40  ft. 
wide  screen,  and  uses  Strong  X-16 
2500  watt  Xenon  lamps,  Joe  Horn- 
stein, Inc.,  of  New  York,  furnished 
the  equipment  and  stage  drapery 
treatement. 

The  Shirley  Street  Theatre  is 
equipped  with  Century  Projection 
and  Cenutry  transistorized  sound 
equipment;  Bausch  &  Lomb  lenses: 
Strong  rectifiers,  and,  as  noted 
above.  Strong  Xenon  lamphouses. 

Engineering  and  supervision  of 
the  installation  was  by  Hal  Horn- 
stein and  Joe  Hornstein,  Inc.  iP 


International  Projectionist        Januarv,  1964 


Harry    Rubin 


The  film  industry  calls  him  a 
"perfectionist."  and  Harrj  Rubin 
richlv  deserves  that  title  as  a  pro- 
jectionist and  as  a  man. 

This  correspondent  i  we're  old 
friendsi  just  reeentlv  had  a  talk  with 
llarrv  in  his  office  at  the  New  York 
Paramount  Theatre,  where  he  has 
spent  II  years  with  the  Paramount 
theatre  chain  as  a  supervisor  of  pro- 
jection and  sound.  Now  he  super- 
vises projection  for  the  \B-Para- 
mount  Theatres. 

Han\  Rubin  pioneered  man)  ol 
the  industry's  most  helpful  projec- 
tion devices,  because  ol  hi>  creative 
talent.  B\  hi-  showmanship  as  a 
projectionist,   Rubin   surrounded   the 


ACOUSTIC    COMPENSATOR— The 

Century  theatre  acoustic  compensa- 
tor is  said  to  be  an  entirely  new  and 
unique  device  to  provide  the  motion 
picture  theatre  with  a  fast  and  accu- 
rate means  of  adjusting  the  frequency 
characteristics  of  multiple  channel  the 
atre  sound  systems  for  the  best  possible 
sound  reproduction  for  any  and  all 
films.  The  compensator  is  engineered 
and  designed  as  a  fully  contained, 
compact  unit  which  has  no  insertion 
loss  nor  does  it  require  changes  in 
system  gain  or  amplification.  It  was 
discussed  in  a  news  story  in  the  No- 
vember issue  of  IP.  It  can  be  added 
to  practically  any  multi-channel  sound 
system.  The  photo  shows  the  Century 
acoustic  compensator  installed  in  the 
Junction  Box  of  a  Century  6/4/1  chan- 
nel  sound   svstem 


Film  Industry  Calls  Harry  Rubin 
A  "Perfectionist"  —  Both  as 
A  Projectionist  and  As  A  Man 


screen  with  rich  effects  and  novelties. 
He  did  this  with  special  pattern 
slides  and  floodlights.  Harry's  flare 
for  showmanship  induced  him  to 
blow-up  portions  of  the  film,  when 
there  was  a  spectacular  sequence. 
His  timing  had  to  be  right  on  the 
button  and  the  screen  masking  too. 
to  fill   the   proscenium   area. 

Manufacturers  of  new  projection 
devices  would  turn  to  Harry  to  test 
their  equipment.  \nd  when  il  was 
passed  b\  Rubin  the)  knew  that  their 
new    equipment    was   okay. 

In  I'M  7.  Rubin  was  supers  isor  of 
projection  at  the  Rialto  and  Rivoli 
theatres,  when  the  late  R<>\\  was 
managing  director,  lie  began  dev  is- 
Ing  effects  and  no\elties.  and  his 
outstanding  contributions  to  the  pro- 
jection of  pictures  attracted  the  at- 
tention of  Sidnev  Kent,  then  the 
high  executive  of  Paramount  Pic- 
tures. 

In  that  same  year,  Paramount  was 
buying  theatres  and  building  new 
theatres  to  expand  their  theatre 
chain.  And  Paramount  signed  Harrv 
as  the  supervisor  of  projection. 

Rubins  first  assignment  was  to 
supervise  projection  of  the  two-a-day 
engagement  of  "The  Covered  Wag- 
on." Paramount  sent  Harry  to  St. 
Augustine,  r  la.,  to  handle  the  tech- 
nical details  of  a  special  showing 
of  "The  Covered  Wagon"  for  Presi- 
dent Warren   G.   Harding. 

Rubin  went  on  the  road  to  plan 
projection  rooms  for  new  theatres 
and  inspect  the  older  theatres'  pro- 
jection booths. 

With  the  formation  in  1925  of 
Paramount-Publix.  Rubin  was  ap- 
pointed director  of  projection  and 
toured  the  country.  Paramount- 
Publix  eventually  had  upward  of 
2.000  theatres,  so  Rubin  was  busy 
keeping  an  eye  on  the  equipment  and 
the    personnel. 

When  the  New  York  Paramount 
Theatre  was  built.  Harry  planned  the 
projection  room.  And  when  it  open- 
ed, Harry  had  three  projectors,  in- 
stead of  two:  one  floodlight:  one 
lantern  slide  and  one  effects  machine 
and  two  spotlights. 

When     in     1927.    the     Paramount 


Theatre  was  installed  with  a  sound 
system,  the  cautious  Rubin  insisted 
on  an  emergency  amplification  sys- 
tem with  a  switch  for  turning  to  the 
other  svstem  if  regular  system  breaks 
down.  And  that  was  the  birth  of  an 
emergency  amplification  system. 
Harry  reasoned  that  if  a  single  sys- 
tem goes  amiss,  he'd  better  have  an 
emergency    system   for  safety. 

Rut  Rubin  is  not  so  cautious  to  try 
am  thing  new.  His  habit  was  to  test 
anything  new  at  all  hours  of  the 
night.  The  equipment  manufacturers 
appreciated  Harry's  testing  to  get  the 
bugs  out  of  their  new  equipment. 
\nil  the  new  development,  what- 
ever it  was,  llarrv  wouldn't  show  the 
movie  patrons  unless  it  was  smooth 
and  an  advance  in  projection  and 
sound. 

i  Concluded  in  the  !\  exl  Issue  ) 


Probably  the  largest  installation  of 
carbon  arc  lighting  equipment  in  any 
theatre  is  that  of  the  5,000-seat  Crown 
Theatre  in  Chicago's  huge  exposition 
building,  McCormick  Place.  It  includes 
three  Trouper  follow  spotlights  (one 
illustrated),  eight  powerful  Super 
Trouper  follow  spotlights,  3  of  the 
worlds'  largest  slide  projectors  to  pro- 
vide 50,000  X  on  the  theatre's  40'  x  80' 
screen,  and  two  carbon  arc  motion  pic- 
ture projection  lamps.  Literature  on  this 
type  of  equipment  will  be  sent  to  any 
reader  addressing  the  Strong  Electric 
Corp.  31  City  Park  Ave.,  Toledo  1, 
Ohio. 


1 


International  Projectionist        January,  1964 


11 


Altec  Engineers  Train  at  Century  Projector  Plant 


TRAINING  —  Altec  service  engineers  attending  train- 
ing sessions  at  the  Century  Projector  Corp.  factory  in  Long 
Island  City  New  York  are  shown  above.  The  training  covers 
Century's  American  made  projectors  and  Century's  all 
transistor  sound  systems.    Left  to  right  in  left  picture  are 


Altec  engineers  D.  S.  McLean,  George  Evans,  Artie  Baus, 
Ralph  Kautzky,  Jack  Gnirrep,  Jim  Raia,  and  Peter  Capone. 
Left  to  right  in  tihe  right  picture  are  Altec  engineers  M. 
Goldberg,  H.  Schwartz,  Robert  Sweeny,  H.  Lateltin,  S. 
McGuigan,  J.  Eves,  and  F.  Hall. 


Tinted  Release  Print  Film 


tending  to  produce  a  mood  of  peace,  reposefulness,  and 
tranquility.  It  is  the  color  of  calm  tropical  seas  under 
clear  skies.  It  is  suggestive  of  the  Mediterranean  and  the 
South  Sea  Islands.  If  used  on  interiors  it  would  impart 
a  feeling  of  restfulness,  dignity,  and  reserve  without  in- 
ducing appreciable  depressive  moods.  (I  disagree.  No 
shade  of  blue  is  suited  to  interior  shots  unless  it  is  de- 
sired to  convey  a  feeling  of  coldness,  gloom,  neglect, 
poverty,  or  night  —  the  "haunted-house"  type  of  atmos- 
phere. R.  A.  M.)  With  proper  contextual  influence  it 
might  be  used  for  the  suggestion  of  brilliant  moonlight 
effects,  although  No.  10  may  be  somewhat  better  for  this 
purpose. 

Tint  No.  10,  Azure.  A  strong  sky-blue.  It  is  colder 
than  Turquoise;  tranquilizing  to  the  point  of  becoming 
depressing.  It  is  suggestive  of  the  sedate  and  the  re- 
served, even  approaching  the  austere  and  forbidding; 
under  certain  conditions  slightly  gloomy 

Tint  No.  11,  Nocturne.  Deep  violet-blue.  The  visual 
transmission  is  low,  giving  a  screen  of  low  brightness.  It 
definitely  suggests  night,  shadows,  gloom,  coldness,  etc. 
By  subjective  associational  reactions  appropriate  to  de- 
pressive conditions,  despair,  failure,  unattained  ambi- 
tions, intrigue,  the  underworld. 

Tint  No.  12,  Purplehaze.  A  bluish  violet  or  lavender, 
rather  pastel  in  character.  It  has  a  relatively  high  visual 
transmission,  giving  a  screen  of  greater  brilliance,  higher 
key,  than  the  adjacent  tints,  Nocturne  and  Fleur  de  lis, 
to  both  of  which  it  is  closely  related  in  emotional  value. 
The  mood  induced  by  this  color  is  particularly  dependent 
( more  so  than  many  of  the  other  colors )  upon  contextual 
factors.  For  instance,  to  a  twilight  scene  on  the  desert 
with  distant  mountains  it  imparts  a  feeling  of  distance, 

12 


from  page  7 

mystery,  repose,  and  languorous  warmth;  used  on  a 
scene  containing  snow  fields,  glaciers,  snow-capped  moun- 
tains, etc..  it  has  a  pronounced  cooling  effect.  The  hue 
of  this  color  is  approximately  the  same  as  that  of  the 
shadows  on  sunlit  snow  under  a  clear  blue  sky. 

Tint  No.  13,  Fleur  de  lis.  A  rich  royal  purple.  This 
color  has  long  been  the  badge  of  royalty,  high  office, 
power,  and  pomp.  In  ancient  times  the  dye  was  very 
costly  and  was  used  to  color  the  garments  of  the  aristo- 
cracy. (A  common  misconception.  The  "royal  purple" 
of  ancient  times  corresponds  to  the  vivid  rose  color  we 
call  "magenta"  today.  R.A.M.)  The  transmission  of  this 
film  tint  is  low,  thus  giving  a  depressed  screen  bright- 
ness suggestive  of  reserve,  dignity,  and  austerity.  It  has 
a  relatively  cool  color,  but  not  as  cold  as  Nocturne. 

Tint  No.  14,  Amaranth.  This  is  also  a  purple,  but  has 
a  greater  red  content  than  Fleur  de  lis;  therefore  it  is 
warmer  and  less  austere.  It  is  adapted  to  the  rendition 
of  scenes  showing  opulence  and  luxury  together  with 
refinement.  With  proper  contextual  relation  it  may  be 
well  adapted  to  scenes  approaching  sensuality  and  aban- 
don, such  as  bacchanalian  revels  staged  in  settings  of 
wealth,   luxury,   and   elegance. 

Tint  No.  15,  Caprice.  Cool  pink.  The  visual  trans- 
mission is  relatively  high,  thus  giving  a  brilliant  spark- 
ling screen.  It  is  a  jolly,  carefree,  hilarious  color  sug- 
gestive of  carnivals,  Mardi  gras,  fete  days,  and  merry- 
making in  general. 

Tint  No.  16,  Inferno.  Fiery  red  tinged  with  magenta. 
Since  it  is  directly  suggestive  of  fire,  it  is  adapted  to 
scenes  of  burning  buildings,  glowing  furnaces,  forest 
fires,  etc.  By  subjective  association  indicative  of  riot, 
panic,  anarchy,  mobs,  turmoil,  strife,  war,  battle,  and 
unrestrained   passion.  iP 

International  Projectionist        January.  196-1 


Kollmorgen  Will  Supply  Lenses  for 
GE  Theatre  Color  Television 


The  Kollmorgen  Corp.  has  been 
selected  !>\  the  General  Electric  Co. 
lo  provide  the  projection  and  Schlier- 
en  len-  assemblies  for  the  first  pro- 
duction of  "Talaria."  General  Elec- 
bric's  revolutionarj  color  projector. 
National  General  Corp..  a  220-the- 
atre  movie  exhibitor  plans  to  use  the 
Talaria  projector  in  a  nationwide 
theatre  TV  network. 

I  In-  quarter-million  dollar  award 
l>\  General  Electric  to  Kollmorgen 
for  the  production  of  projection  and 
Schlieren  lenses  was  made  after  com- 
petitive bidding  l>\  major  projection 
lens  manufacturer-  in  the  United 
States.  Vmong  factors  governing  se- 
lection were  the  ahilit\  to  produce 
complex  precision  lenses  possessing 
ultra-high  resolution,  linearity,  uni- 
formity and  contrast,  plus  a  proven 
"quick-reaction"  capability . 

"Talaria""  has  a  wide  range  ol  pos- 
sible uses  outside  the  commercial  en- 
tertainment field,  including  medical 
and  other  instruction,  military  brief- 
ings,    and    national    conventions. 

I  ntil  development  of  the  projector 
l>\  Genera]  Electric,  display  of  TV 
pictures  on  full  size  25  l>\  33  ft. 
-i  reens  with  adequate  brightness  wa> 
limited  to  black  and  white.  Previous- 
ly, most  color  systems  were  limited 
lo  screens  about  one-fourth  this  size. 
Talaria  provides  a  color  picture  with 
characteristics  that  compare  verj  lav- 
orabbj   with  color  film. 

The  key  factors  which  make  pos- 
sible the  capabilities  of  this  projector 
are  the  development  of  a  special  con- 
trol fluid,  the  development  of  a  novel 
light  gathering  ~\-tem  to  utilize  the 
ver\  high  light  output  of  a  5-kw 
xenon  arc  lamp,  and  a  simplification 
of  the  projection  optics  wherein  all 
three  primary  colors  are  projected 
with  only  two  output  light  beams. 

This  dual-beam  method  results  in 
a  simpler  and  more  reliable  projector. 
and  substantial!)  simplifies  the  prob- 
lem of  achieving  and  maintaining 
precise  color  registration.  This  is 
particularly  important  for  large- 
screen  projection  where  minute  errors 
would  be  sreatlv   magnified. 


The  Talaria  projector  has  a  high- 
power  light  source  and  an  optical 
projection  system  similar  to  that  of  a 
motion  picture  projector.  But  in  place 
of  the  printed  motion  picture  film,  a 
thin  laser  of  viscous  fluid  is  used. 
This  control  fluid  was  developed  bj 
General  Electric  for  this  particular 
application  and  has  unique  electrical. 
mechanical  and  optical  properties. 

This  control  layer  is  continuously 
scanned  b\  an  election  beam  in  the 
same  manner  a>  the  phosphor  on  the 
face  ol  the  picture  tube  in  a  conven- 
tional TV  set.  But  instead  of  produc- 
ing a  picture  directly  on  the  control 
laser,  the  scanning  process  controls 
the  light  from  the  lamp  which  passes 
through  the  control  laser  in  such  a 
manner  that  a  live  picture  is  in- 
stantaneousl)  produced  on  a  large 
screen   in   lull  color  and  brightness. 

In  addition  to  producing  high 
speed  35mm  projection  lenses  for  the 
motion  picture  industry,  and  projec- 
tion lenses  for  Cinerama,  Kollmorgen 
produces  sophisticated  optical  align- 
ment instrumentation,  submarine  per- 
iscopes for  the  \av\.  and  a  variety 
of  optical-mechanical  and  electronic 
instruments  for  the  militarv  and  in- 
dustry. iP 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment    Division 
100    E.  42nd    St.,    New   York    17,   N.Y. 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport,  Pa. 


WHY  WASTE  CARBONS? 

Use  The  "Master  Saver  Device" 

Reduce  your  projection  carbon  cost  by  adopting  the  MASTER 
CARBON  SAVER  (designed  by  a  pioneer  IATSE  projectionist.) 
The  only  simple  and  accurate  saver  on  the  market  with  no 
springs,  screws,  nuts  and  bolts  and  requires  no  carbon  grind- 
ing. Each  carbon  held  by  "Precision  Taper"  after  stub  is  easily 
tapped  into  saver.  There  is  a  "MASTER"  saver  for  every  type  of 
Suprex  non-rotating  or  rotating  arc  lamp.  Now  being  used  by 
hundreds  of  theatres  on  STRONG,  ASHCRAFT,  PEERLESS,  etc.; 
sizes  6-7-8-9-10-llmm,  $3.50  each:    13.6mm,  $4.50  each. 

SOLD   BY   YOUR   LOCAL   SUPPLY   DEALER 

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CARBON  ARCS   .   .   .   for  finest  Projection   .   .   .   Compact  Xenon  Arcs 


JHowuUne  A*c  GgjiM&hA. 


Brighter  Light  on  Screen 

•  Longer  Burning  per  Carbon 

*  More  Economical  .  .  . 


vTJFLOST 


products 


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nTFiOAr  LAMPH0USES  • 

by  Cinemeccanica 


BOONTON,   N.  J: 


\bT*ioj/  POWER  SUPPLIES 

by  Christie 


International  Projectionist        January.  1964 


13 


SMPTE  Calls  A-V 
Design  Conference 

NEW  YORK  —  A  conference  of 
experts  in  audio-visual  education  has 
called  for  a  "systems,"  or  integrated, 
approach  to  the  design  and  use  of 
A-V  devices. 

Their  report,  recently  put  in  final 
form  by  the  Society  of  Motion  Pic- 
ture and  Television  Engineers 
!  SMPTE )  under  contract  with  the 
U.  S.  Office  of  Education,  notes  that 
because  of  the  "piecemeal"  evolution 
of  today's  audio-visual  devices, 
schools  have  not  been  able  to  make 
the  effective  use  of  A-V  techniques 
that  the  state  of  the  art  permits. 

The  240-page  report,  entitled  "De- 
signing New  Apparatus  for  Learn- 
ing," grew  out  of  a  three-day  con- 
ference held  at  Princeton,  N.  J.,  in 
1961.  Findings  of  the  conference 
were  outlined  by  the  SMPTE  project 
director,  John  Flory  of  Eastman 
Kodak  Co.,  in  Oct.  at  the  Society's 
94th  Technical  Conference,  held  in 
Boston. 

The  conferees  saw  a  number  of 
reasons  why  the  audio-visual  move- 
ment has  encountered  resistance. 
Among  these  factors  are  economics, 
ignorance  of  A-V  techniques  and  pos- 
sibilities, inefficient  equipment  and 
"a  print-oriented  .  .  .  tradition"  in 
instruction. 

"For  many  years,"  they  reported, 
"some  teachers  have  been  combining 


America's 
headquarters 

lor  all 
theatre  equipment 


supplies 


•N.TS- 


National 

THEATRE  SUPPLY  COMPANY 


14 


different  kinds  of  materials — films, 
filmstrips,  still  pictures,  models,  etc. 
—  to  realize  their  teaching  goals. 
These  are  instructional  systems  at  the 
simplest  level.  .  .  .  Not  only  do  we 
need  to  develop  packages  of  inter- 
related instructional  materials  .  .  .  we 
need  also  to  analyze  the  entire  educa- 
tional process  in  an  effort  to  made 
it  operate  at  an  optimum  level." 

The  conferees  suggested  that  the 
recent  success  of  language  laborator- 
ies lies  in  the  fact  that  they  are  set 
up  not  as  isolated  devices,  but  rather 
as  "total  configurations  of  equipment 
and  materials  to  meet  certain  aims." 
This,  they  suggested,  is  the  funda- 
mental purpose  of  any  system.      iP 

Local  306  Plays  Santa 

BROOKLYN,  N.  Y.— For  the  14th 
year,  the  Movie  Social  Club  of  Kings 
County  spread  Christmas  cheer  at  the 
various  hospitals  throughout  Brook- 
lyn by  giving  out  candy  and  toys  to 
sick  children. 

The  overall  activity  is  under  the 
direction  of  Harry  Garfman,  execu- 
tive director  of  the  club,  who  is  also 
Brooklyn  and  Queens  Business  Agent 
of  IATSE  Local  306  of  the  Projec- 
tionists Union.  Burt  Sutter  is  chair- 
man of  the  entertainment  committee. 

In  addition  to  special  yuletide 
activities,  the  Movie  Social  Club 
projects  movies  throughout  the  year 
at  the  various  hospitals  in  Kings 
County.  Projection  equipment  is 
loaned  free  to  these  institutions  and 
oftimes  films  are  projected  on  ceil- 
ings for  prone  patients.  iP 

Hughes  Electronics 
Announces  New  Xenon 
Solid-State  Power  Supplies 

LOS  ANGELES,  Calif.  —  A  new 
"Solid-State-Series"  of  nine  power 
supplies  designed  to  optimize  the 
life  of  high  cost  Xenon  and  Xenon- 
Mercury  arc  lamps  in  equipment 
such  as  motion  picture  and  micro- 
film projectors,  theatrical  and  photo- 
graphic spot  and  flood  lights,  sun 
simulators,  comparators,  interfero- 
meters, oscillographs  and  polari- 
scopes  is  now  available  from  Hughes 
Electronics  Co.,  Los  Angeles,  Calif. 

Utilizing  high  efficiency  solid- 
state  circuitry  throughout,  units  in 
the  series  feature  output  ratings  from 
30  to  5000  watts,  and  meet  all  of  the 
technical  requirements  of  Xenon 
and  Xenon-Mercury  lamps  to  assure 
maximum  life. 

Performance  and  operating  charac- 
teristics include:  inherent,  self- 
regulating  volt-ampere  characteris- 
tics; DC  output  ripple  less  than  1%: 

International  Projectionist 


Hughes  Electronics  Co.  Model  1200- 
A33T,  1200  watt  solid-state  power  sup- 
ply for  xenon  and  xenon-mercury 
lamps.  One  of  nine  models  rated  from 
30  to  5000  watts. 

automatic  current  limiting;  adjust- 
able output  range  selector;  and  pro- 
tection against  high  voltage  igniter 
starter.  Free  convection  cooling 
eliminates  noisy  fans  and  blowers 
and  permits  continuous  operation  in 
temperatures  ranging  from  0°C  to 
50°  C. 

Models  100A25S  and  300A25S  are 
compact,  portable  units  measuring 
9V1>"  x  6%"  x  5Y2".  Weighing  ap- 
proximately 20  pounds,  they  provide 
outputs  of  30-100  and  150-300  watts 
respectively.  Models  in  the  series  in- 
crease in  size  and  rating  to  the  Model 
5000A65T  for  powering  5000  watt 
Xenon  lamps.  Priced  from  $405  de- 
pending on  output  rating. 

All  units  in  the  series  have  been 
designed  to  occupy  a  minimum  of 
floor  space,  with  a  single  control  re- 
cessed into  the  front  panel  of  the 
two-tone  cabinets.  For  mobility, 
casters  can  be  supplied  on  all  models 
as  an  optional  feature. 

Bulletin  AL-64  describing  the  ser- 
ies in  technical  detail  will  be  sent  on 
request  through  International  Pro- 
jectionist. iP 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING    DEVICES 

VALLEN,lnc. 

AKRON  4,  OHIO 


January.  1964 


basic 
mathematics 

by  NOIMAN  H    C»0 WHUI  «T 


—T 


■ 

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v 


■  .■ 


>«•;: 


7 


VOLUMES 
1  through  4 
COMPLETE 

RON  (OUNTMC 

n«0WM  uicuuft 

...  A  MOM tN 

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PRACTICAL 
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by  Norman  H.  Crowhurst 

4-volume  'pictured-text'  course  makes  it  easier  than 
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ima?es  of  mathematical  ideas  formerly  difficult  to 
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A  KNOWLEDGE  OF  MATH  SPEEDS  YOUR  PROGRESS  IN 
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Volume  I  —  ARITHMETIC  AS  AN  OUTGROWTH  OF 
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Projectionist  Stan  Goldstein,  member  of  New 
York  Local  306,  is  shown  here  pointing  out  some 
of  the  important  features  of  the  XeTRON  lamp- 
house.  Note  the  clarity  of  the  picture  on  the 
black-back  side  of  the  rear  process  screen.  (See 
story  on   page   9.) 


FEBRUARY 
VOLUME  39 
40c  A  COPY 


1964 

NUMBER  2 

$3.00  A  YEAR 


A  Scene  From  America's  Projector  Carbon  Center... 


X-ray  reveals  breaks  and  voids  in  positive  projector  carbon  cores 


"The  x-ray  eyes  of  our  inspectors  are  your 
assurance  of  perfect  projector  carbon  cores" 


You  can't  judge  a  movie  by  its 
title.  And  you  can't  judge  a  pro- 
jector carbon  solely  from  the 
outside.  That's  why  carbon  in- 
spectors in  our  plant  in  Fostoria, 
Ohio,  test  every  carbon  from  VeryUohnson 
the  inside  out — with  modern  x-ray  equipment. 
As  an  extra  safeguard,  our  inspectors  are  paid 
a  premium  for  every  imperfect  carbon  they  re- 
ject and  scrap. 

Shown  above  is  our  x-ray  room,  through  which 
all  positive  carbons  must  pass  on  a  belt  contain- 
ing from  6  to  20  carbons,  depending  on  size.  The 
assignment  is  to  weed  out  carbons  with  voids  or 


-says  VERYL  JOHNSON 

"National"  Sales  Engineer 

breaks  in  their  rare  earth  cores  —  the  key  to  un- 
interrupted burning  and  maximum  light  quality. 

As  a  further  inspection  safeguard,  operators 
of  this  x-ray  equipment  stay  keen  and  alert  by 
changing  off  every  30  minutes ! 

Quality  manufacturing  and  precision  testing 
are  only  a  part  of  the  National  projector  car- 
bon story.  For  more  than  45  years  we  have  pro- 
vided the  motion  picture  theatre  industry  with 
unsurpassed  technical  service. 

Our  Sales  Engineers  are  equipped  with,  and 
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Including  a  special  Audio-Visual  section  relat- 
ing to  the  operation  and  maintenance  of  A-V 
equipment  in  the  educational  and  industrial 
fields. 


Volume  39 


February,  1964 


No.  2 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY  GALLO 

Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO   ASSOCIATES 

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IN   THIS   ISSUE 

That   Vital    Leader    Footage 
By   Robert  A.    Mitchell 

New  Strong   Lamp 

XeTRON   for  Rear  Projection 
The   Cover   Story 


10 

11 


Harry  Rubin,    Part   2  13 

News  Notes — Technical  Hints — Miscellaneous  Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
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copyrighted  1963  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO.  <2^^ta> 


International  Projectionist        February,  1964 


MONTHLY  CHAT 


THE    DESIGN    FOR    PROJECTION    ROOMS 

Thank  heaven  for  new  theatres.  They're  designed  and 
constructed  around  the  projection  room,  enabling  the 
craftsman  t<>  act  around  his  machines. 

The  older  theatres,  except  for  the  downtown  city 
houses,  have  their  quota  of  cages  and  what-nots,  where 
in  b\  dint  of  much  squeezing,  a  pair  of  projectors 
and  rewind  bench  nestle  up  to  one  another  in  an  ef- 
fort to  remain  within  the  confines  of  the  space  so 
grudgingh    allowed    them. 

In  spite  of  the  increasing  recognition  of  the  im- 
portance which  is  attached  to  the  projection  in  mo- 
tion picture  theatres,  no  small  number  of  freaks  in 
the  projection  room  design  continue  to  make  their  ap- 
pearance. 

The  question  might  logicalh  he  asked:  "In  what 
manner  do  improperly  designed  projection  rooms  af- 
fect the  presentation  of  the  pictures  on  the  screen?" 
It  is  true  that  the  effects  of  relatively  minor  errors 
in  design  are  seldom  visible  on  the  screen,  since  they 
but  serve  to  make  the  craftsman  work  harder  in  order 
to  overcome  the  handicaps  needlessly  and  thoughtlessly 
Imposed  upon  him.  The  major  errors,  however,  of 
which  the  undersized  projection  room  is  perhaps  the 
most  serious,  result  in  the  curtailment  of  equipment 
ami  the  effects  of  such  curtailment  are  plainly  visible 
to  an  experienced  observer,  since  certain  elements  which 
are  necessary  to  a  well  balanced  program  must  be 
sacrificed,    due   to   the   lack   of   projection    equipment. 

The  construction  of  which  dates  back  to  the  times 
when  the  builders  held  less  tolerant  views  concerning 
tin-  importance  of  projection  than  do  those  now  engaged 
in   the   business   of  exhibition. 

In  the  final  analysis,  the  responsibility  for  such 
errors  rests  with  the  architect,  or  at  least  with  some 
member  of  his  organization  whose  duty  it  is  to  look 
after  such  details.  Indirectly,  the  owner  of  the  theatre 
is  to  blame,  since  he  should  see  to  it  that  where  the 
architect  is  incapable  of  handling  the  design  of  the 
projection  room  with  all  its  ramifications,  the  logical 
person  to  call  upon  for  assistance  is  the  chief,  or  senior 
projectionist,  and  the  supply  house.  Even  where  the 
architect  is  experienced  in  such  matters,  the  projection- 
ists should  be  consulted — -while  the  plans  are  being 
drawn  and  not  after  the  construction  of  the  theatre 
has  advanced  to  such  a  stage  that  the  size  of  the  pro 
jection  room  governs  the  amount  of  the  equipment 
to  be  used  rather  than  letting  the  selected  equipment 
determine  the  size  of  the  booth. 

There  is  a  simple  way,  of  course.  The  owner  of  the 
theatre  could  ask  a  competent  projectionist  to  super- 
vise the  selection  of  equipment,  and  charge  him  with 
the  responsibility  of  seeing  to  it  that  all  matters  per 
taming  to  projection  are  carried  out  in  strict  accord- 
ance with  the  plans.  The  owner  should  then  go  to 
the  architect  with  a  list  of  proposed  equipment  and  a 
notation  of  the  space  required  by  each  piece  and  in- 
sist that  the  projection  room  be  of  a  size  sufficienf 
to  meet  the  necessary  space  requirements.  UP 


Volume  39 


February,  1964 


Number  2 


That  Vital  Leader  Footage 


By  ROBERT  A.  MITCHELL 


The  Few  Seconds  between  the  appearance  of  the 
motor-start  and  changeover  cues  on  the  screen  consti- 
tute projection's  "moment  of  truth,"  the  most  critical 
period  of  the  entire  projection  process. 

Although  this  crucial  period  lasts  only  about  seven 
seconds,  it  recurs  at  every  changeover  with  all  its  in- 
herent dangers.  When  it  exposes  the  projectionist's 
neglect  in  the  inspection  and  repair  of  leaders  and  cue 
marks,  it  does  so  right  on  the  screen  for  all  to  see! 
This  is  when  a  film  break  is  most  likely  to  occur,  or,  less 
serious  but  still  intolerable,  a  misframe,  a  sudden  change 
in  light  or  focus,  a  momentary  "blackout,"  or  a  "white 
screen." 

It  is  unfortunately  true  that  slip-ups  sometimes  hap- 
pen in  spite  of  the  best  projectionist's  best  efforts,  but 
why  invite  trouble  with  neglect  or  carelessness?  Those 
15  or  20  feet  of  leader  footage  that  the  audience  never 
sees  are  the  most  important  of  the  entire  show! 

Professional  presentation  of  a  film  program  begins 
with  inspection  and  repair  of  the  prints.  The  projection- 
ist can  be  reasonably  confident  about  the  performance 
of  the  projectors  because  he  works  with  them  every  day 
and  has  plenty  of  opportunity  to  keep  them  up  in  good 
working  order.  The  prints  are  a  different  matter:  he 
never  knows  what  he  is  going  to  find  when  he  opens 
up  the  shipping  cases  and  begins  to  inspect  the  footage 
on  his  hand  rewind.  This  is  particularly  true  in  subse- 
quent-run theatres. 

In  view  of  the  crucial  nature  of  the  changeover 
period,  the  standard  film  leader  which  heads  each  reel 
is  extremely  important  to  the  quality  of  the  presenta- 
tion. And  yet  the  leaders  are  often  mangled  and  soiled 
and  excessively  patched  even  when  the  picture  footage 
is  in  excellent  condition!  All  projectionists  know  that 
every  splice  in  a  leader  offers  one  more  chance  of  a 
misframe,  a  momentary  blackout,  or  even  a  film  break 
which  will  interrupt  the  show  and  cause  audience 
grumbling.  Unlike  the  operators  of  television  stations, 
we  can't  excuse  our  faults  by  announcing  that  we  are 
"experiencing  slight  technical  difficulties"!  Moviegoers 
expect  perfect,  uninterrupted  projection  on  the  theatre 
screen. 

Now,  the  irony  of  the  situation  is  that  the  vital 
leader  footage  is  more  exposed  to  abuse  than  any  other 
part  of  a  reel  of  film.  It  may  be  damaged  by  careless 
threading  of  the  projectors,  torn,  indented  by   sprocket 


teeth,  mashed  in  the  gate,  the  edges  of  the  film  chipped, 
and  much  of  it  unwound  upon  the  floor  where  it  picks 
up  oil  and  dirt,  and  is  occasionally  creased  and  cracked 
by  being  stepped  upon.  No  wonder  that  leaders  have 
to  be  replaced  several  times  during  the  useful  life  of  a 
release  print! 

Standardization   of   Film    Leaders 

The  standardization  of  the  release-print  leader  is  its 
most  valuable  feature.  Accordingly,  any  alteration  of 
its  length  or  transposition  of  its  parts  greatly  dimin- 
ishes its  usefulness.  The  general  lack  of  leader  stand 
ardization  in  the  days  of  silent  movies  required  the 
projectionist  to  measure  off  and  "play  out"  the  requisite 
length  of  framelined  blank  film.  We  would  be  doing 
this   today   were   it   not  for   the  standard   leader. 

The  modern  release-print  leader  begins  with  several 
feet  of  opaque  or  transparent  "projection  leader"  on 
which  the  picture  title  and  reel  number  may  be  written 
lengthwise  in  large  characters  for  ready  identification. 
Then  comes  the  "identification  leader"  which  gives  in 
each  of  its  24  frames  the  print  type,  reel  number,  and 
picture  title.  This  is  followed  by  12  feet  and  20 
frames  of  the  main  "synchronizing  leader"  having 
black  frames  separated  by  rather  thick  transparent  frame- 
lines.  Every  16th  frame  of  the  synchronizing  leader 
is  transparent  and  marked  with  an  inverted  footage- 
indicator   numeral   for   threading   purposes. 

The  footage-indicator  frame  located  exactly  12  feet 
from  the  first  frame  of  the  picture  is  marked  "Picture 
Start."  One  foot  from  the  Picture  Start  frame  is  the 
indicator  frame  "11."  Each  succeeding  foot  is  marked 
by  a  numbered  frame,  "10,"  "9,"  "8,"  etc.,  down  to 
"3,"  followed  by  three  feet  of  black  film  and  the  first 
frame  of  the  picture.  Each  indicator  frame,  including 
the  "Picture  Start,"  is  preceded  by  a  sound-synchron- 
izing diamond  exactly  20  frames  ahead  of  it. 

Television  leaders  containing  image  adjustment  pat- 
terns and  focusing  targets  should  not  be  used  on  theatre- 
release  prints. 

The  "protective  leader"  of  transparent  blank  film 
or  opaque  raw  stock  is  supposed  to  be  restored  to  its 
initial  length  of  8  feet  when  repeated  use  has  reduced 
it  to  6  feet.  This  leader  is  threaded  onto  the  takeup 
reel;  and  because  its  end  is  frequently  trimmed  with  the 

(Please  turn   to  page  6) 

International  Projectionist         February,  1964 


Investment  Opportunity 


The  skills  he's  learning  today  he  will  someday  put 
to  use  for  you. 

But  it  is  going  to  take  a  substantial  investment 
before  the  strides  he  takes  will  be  sure  and  swift  and 
strong.  An  investment  of  time,  of  love,  of  money 
and  thought. 

You  have  a  stake  in  that  investment. 

You  can  protect  it  by  joining  with  other  leading 
American  businessmen  to  promote  the  Treasury's 
Payroll  Savings  Plan  for  U.  S.  Savings  Bonds.  The 
Treasury  Department's  Plan  encourages  habits  of 
prudence  and  diligence  and  responsibility  that  are 


the  most  valuable  currency  of  a  free  society  and  a 
free  economy. 

When  you  bring  the  Payroll  Savings  Plan  into 
your  plant — when  you  encourage  your  employees 
to  enroll — you  are  investing  in  the  skills  of  tomor- 
row's workers.  In  the  energy  and  ability  of  youth 
that  is  our  real  wealth.  You  are  investing  in  Amer- 
ica's future.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call 
your  State  Savings  Bonds  Director.  Or  write  today 
to  the  Treasury  Department,  U.  S.  Savings  Bonds 
Division,  Washington,  D.  C.  20226. 


!     in  your  plant. ..promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS     M(Km 

The  U.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism,  The  Advertising  Council  and  this  magazine. 


International  Projectionist         February,  1964 


azine 


Slack 
film   may 
break  when 
projector   starts/ 

FIG.  1 — Always  bring  the  film  up  taut  in  the  upper  mag- 
azine to  avoid  a  length  of  slack  film.  Be  sure  that  upper- 
reel  tension  is  sufficient  to  hold  the  reel  where  you  turn 
it  (but  not  enough  to  strain  the  film,  of  course).  If  the 
slack  in  the  film  is  not  removed,  the  teeth  of  the  upper 
feed  sprocket  may  rip  out  the  holes  when  the  projector 
motor  is  turned  on. 

scissors  to  permit  easier  insertion  into  the  reel  slot,  its 
length  is  gradually  reduced. 

Protective   Leaders  Too   Long? 

The  writer  believes  that  a  protective  leader  8  feet, 
or  even  6  feet,  in  length  is  inconveniently  long.  If  the 
projector  is  threaded  up  with  the  indicator  numeral 
"7"  or  "6"  at  the  aperture,  about  seven  feet  of  leader 
drape  down  to  the  floor  until  threaded  into  the  re- 
mainder of  the  machine.  If  the  picture  aperture  is  4 
feet  above  floor  level,  approximately  3  feet  of  the 
standard  leader  will  lie  on  the  floor.  Add  to  this 
8  feet   of  opaque  protective  leader,   and  a  total   of   11 

Lower 


Slack 

film  WILL 

BREAK  when  projector  starts/ 
FIG.  2 — Most  dangerous  of  all  is  a  slack  length  or  loop  of 
film  in  the  lower  magazine.  Make  certain  that  the  film  is 
taut  before  the  projector  motor  is  switched  on!  When  not 
held  back,  the  takeup  reel  turns  so  fast  that  the  film  will 
break  when  it  tightens. 


feet  of  film  are  curled  around  the  projectionist's  feet. 
All  this  excess  film  must  be  wound  up  on  the  hub  of  the 
takeup  reel  as  the  last  step  of  the  threading  operation. 

It  seems  to  us  that  2  or  3  feet  of  opaque  protective 
leader  are  enough,  and  certainly  much  easier  to  handle 
than  the  longer  recommended  lengths.  Surely,  a  21/2-ft. 
length  is  sufficient  to  protect  the  main  leader  and  to 
provide  space  for  writing  the  reel  number  on  the  film 
when  necessary  for  ready  identification  of  the  reel  in 
the  storage  bin. 

Splices  in   Leaders 

Unless  the  print  is  a  fairly  new  one,  the  leaders  are 
usually  patched  in  several  places.  This  means  that  they 
have  been  torn  several  times  by  rough  handling,  or  that 
misthreading  has  caused  them  to  break  when  the 
projector  was  started  up.  One  or  two  splices  are  rather 
common  in  the  leaders  of  used  prints,  and  each  one 
must  be  scrutinized  and  tested  for  mechanical  strength, 
ability  to  run  through  the  projector  smoothly,  and  for 
frame  registration. 

The  very  worst  time  of  all  to  have  a  film  break  is 
when  a  changeover  is  being  made.  Two  projectors  are 
then  operating  at  the  same  time;  and  the  projectionist's 
attention  is  glued  to  the  screen  as  he  waits  for  the 
changeover  cue.  Likewise,  an  out-of-frame  splice  in  a 
leader  will  result  in  an  out-of-frame  picture  on  the 
screen  when  the  changeover  is  made.  Misframed  splices 
are  most  likely  to  be  found  in  the  black  film  between 
the  "3"  indicator  frame  and  the  picture,  especially  where 
the  leader  is  spliced  to  the  black  footage  of  a  fade-in. 

Sections  of  leader  in  which  three  or  four  splices  oc- 
cur within  a  few  inches  of  each  other  should  be  cut 
out  completely  and  replaced  by  the  requisite  length  of 
new  plain  leader  stock  having  black  frames  and  white 
framelines.  Such  stock  may  be  purchased  in  100-ft. 
rolls  at  about  3c  per  foot.  The  short  lengths  of  leader 
cut  from  brand-new  preview  trailers  and  usually  thrown 
away  are  worth  saving  for  the  repair  of  standard 
leaders. 

Shortened    Leaders 

After  checking  all  splices  for  strength  and  frame 
registration,  observe  whether  the  leader  has  been  ma- 
terially shortened  by  the  patching  previously  done  on 
it.  Loss  of  a  foot  or  less  does  no  harm,  but  it  should 
be  kept  in  mind  that  a  shortened  leader  causes  the  pic- 
ture to  come  into  the  aperture  prematurely  before  the 
changeover,  and  that  1  second  of  picture  running  time 
is  thus  lost  for  every  1%  feet  of  film  missing  from 
the  leader.  Continuity  is  not  disturbed  unless  a  fade-in 
is  lost  or  a  few  words  of  dialogue  are  "clipped  off"  at 
the  changeover. 

The  recommendation  that  "significant  sound  should 
be  kept  at  least  5  feet  from  the  start  of  the  picture" 
is  unfortunately  not  always  heeded  by  the  people  who 
assemble  the  prints  and  decide  just  where  the  reels  shall 
begin  and  end. 

Loss  of  action  due  to  a  shortened  leader  can  be 
avoided  either  by  threading  up  on  a  larger  indicator 
number  to  compensate,  or  by  allowing  just  the  right 
amount  of  time-delay  in  switching  on  the  incoming 
projector  when  the  motor-start  cue  appears.  Either 
method  risks  a  momentary  blackout  through  miscalcu- 
lation. It  seems  better  to  restore  the  leader  to  its  cor- 
rect length  or  to  lose  only  a  second  or  two  of  unim- 
portant action:  the  audience  probably  will  not  notice 
any  "jump,"  but  they  do  notice  blackouts  and  com- 
plain if  the  screen  "goes  black"  for  even  the  merest 
fraction   of  a  second! 

From  the  point  of  view  of  the  average  moviegoer,  the 

International  Projectionist        February,  1964 


worst  sin  a  projectionist  can  commit  is  to  allow  the 
indicator  numerals  and  sound-synchronizing:  diamonds  to 
flash  b\  on  the  screen.  This  seldom  happens  unless  the 
projectionist  habitually  threads  up  on  a  high  indicator 
number  and  "runs  down'"  to  the  correct  starting  number 
— and  then  forgets  to  run  the  film  down  after  threading! 

Excessive    Leader    Length    Tabu 

Strange  as  it  ma)  seem,  replacement  of  damaged 
leader-  l>\  the  exchanges  sometimes  results  in  the  inclu- 
sion of  more  than  3  feet  of  black  film  between  the 
"T"  indicator  frame  and  the  first  frame  of  the  picture 
An  excessively  long  leader  is  actual!)  worse  than  a 
shortened  one.  for  if  the  projectionist  does  not  notice 
and  remove  the  excess  film  before  the  reel  is  shown, 
both  he  and  his  audience  will  be  treated  to  a  brief 
blackout   when   the  changeover  is  made. 

On  the  protection-leader  footage  of  fairlv  new  prints 
the  projectionist  max  find  the  words:  "Do  not  patch 
this  leader.  Replace  if  torn."  This  notice  is  addressed 
to  the  operator  of  the  film-printing  machine,  not  to  the 
projectionist.  It  refers  to  the  negative  from  which  the 
leader  is  printed,  and  i>  intended  to  present  the  printing 
of  defective  leaders. 

Having  been  unwound  upon  the  floor  inaiiv  times, 
the  leaders  of  old  prints  ma\  he  badl)  soiled.  The  oil 
and  dirt  adhering  to  them  should  be  removed  1>\  draw- 
ing them  through  a  folded  pad  of  soft  cotton  cloth 
moistened    with    film-cleaning    fluid. 

Conserve   Those    Leaders! 

Most  projectionists  help  save  leaders  by  keeping 
them  a-  (lean  as  possible  and  by  treating  them  gentlv 
when  threading  the  projectors.  One  simple  rule  is  to 
make  sure  that  the  film  is  on  the  sprocket  before  closing 
the  idler  roller  or  the  gate  door.  Carele»ness  ma\  re- 
sult in  a  film  break  and  one  more  splice  in  a  leader 
which  may  already  have  more  than  its  fair  share  of 
patches! 

It  i-  especially  important  to  take  up  all  slack  film 
on  both  the  upper  and  lower  reels  to  avoid  sudden 
tightening  of  loose  lengths  of  film.  Perforations  are 
ripped  out  bv  the  teeth  of  the  upper  and  lower  sprockets 
when  the  film  snaps  tight.  If  the  film  does  not  break 
immediately,  it  will  in  the  gate  when  a  loop  is  lost. 
The  takeup  reel  turns  verv  fast  when  not  held  back  by 
the  film,  and  is  \er\  likelv  to  break  the  leader  if  a 
length  of  slack  film  is  left  between  the  lower  sprocket 
and  the  takeup  reel.  This  is  probablv  the  chief  cause 
of  damage  to  leaders. 

A  misthreaded  leader  ma)  break  if  the  film  is  "run 
down"  to  the  correct  indicator  number  by  switching  on 
the  projector  motor  instead  of  using  the  handwheel. 
The  best  way  to  thread  is  to  bring  down  a  sufficient 
length  of  leader  from  the  upper  reel  so  that  the  correct 
indicator  number  can  be  placed  just  above  the  aperture 
in  the  gate.  The  threading  can  then  be  checked  by 
running  down  a  few  frames  with  the  handwheel.  Very 
serious  damage  can  be  inflicted  upon  the  projector  by 
snitching  the  motor  on  and  off  rapidly  to  check  the 
threading.' 

In  the  first  place,  the  motor-switch  contacts  may  be 
badly  burned  when  the  projector  motor  is  turned  off 
before  it  has  attained  full  running  speed.  The  starting 
w  hiding  of  a  motor  consumes  a  very  strong  current  and 
produces  a  hot  spark  when  the  circuit  is  broken.  In 
the  second  place,  the  starting  winding  of  a  motor  has  a 
powerful  "torque,"  or  force  of  rotation.  If  the  motor 
i-  -witched  on  again  before  it  has  had  a  chance  to  stop 
turning,  the  powerful  starting  torque  is  added  to  the 
momentum    of    the    revolving    rotor    and    the    projector 

International  Projectionist        February,  1964 


FIG.  3 — Here  is  what  happens  to  the  sprocket  holes  when 
film  is  violendy  "yanked"  on  a  sprocket — the  perforations 
in  each  margin  are  simply  ripped  out!  If  this  happens  on 
the  upper  sprocket,  a  loop  may  be  lost  when  the  torn  per- 
forations come  to  the  intermittent  sprocket.  The  result: 
a  film  break  and  possibly  a  "burn-out"  when  the  film 
stops  in  the  gate. 

-ear-    and    flv  wheels.      This    results    in    an    almost    in 
stantaneous  acceleration  which  may  strip  the  teeth  from 
the    main    drive  gear   and    the   shutter   spiral   gears. 

It  i>  a  matter  of  great  convenience  to  have  equal 
starting  times  for  both  projectors  of  the  installation 
in  order  that  the  same  indicator-frame  number  be  used 
in  threading  anv  projector.  The  time  required  for  a 
projector  to  reach  normal  operating  speed  may  be 
regulated  with  the  starting-winding  rheostat  on  most 
split-phase    induction    motors. 

Film    Cues   Also   Standardized 

Because  the  motor-start  and  changeover  cues  at  the 
end  of  a  reel  are  11  feet  apart  (7.333  seconds),  it  is 
obvious  that  the  speed-up  time  of  a  projector  must  be 
less  than  7  seconds.  Actually,  a  speed-up  time  between 
2  and  3  seconds  seems  to  be  best,  and  requires  the 
projector  to  be  threaded  up  on  "6,"  "7,"  or  "8." 

Naturally,  the  two  sets  of  cues,  each  consisting  of 
four  consecutive  frames  having  a  white-outlined  black 
dot  in  the  upper  right-hand  corner  of  the  picture,  must 
be  the  correct  distance  apart  (11  feet  between  the  first 
(iied  frames  of  the  two  sets)  in  order  that  the  standard 
leader  be  used  with  confidence.  There  should  also  be 
22  frames  of  film  between  the  first  frame  of  the 
changeover-cue  set  and  the  first  frame  of  the  black 
"run-out  trailer"  to  allow  a  fraction  of  a  second  for  the 
changeover  device  to  function. 

Splices  in  the  film  between  the  motor  and  change- 
over cues  make  it  advisable  to  check  the  length  of 
film  between  the  two  sets  of  cues  when  inspecting  the 
print,  i  This  is  easily  done  by  noting  the  footage  num- 
bers printed  in  the  perforation  margin  of  the  film.)  If 
more  than  4  or  5  frames  are  missing,  a  new  set  of  motor- 
start  cues  must  be  marked  on  the  film  11  feet  ahead  of 
the  changeover  cues. 

A  cue-marking  die  is  an  absolute  necessity  for  scor- 
ing a  neat,  inconspicuous  set  of  cues  on  film.  Crude 
lines  and  X's  scratched  over  the  frames  are  an  unneces- 
sary form  of  film  mutilation,  as  is  also  the  punching  of 
holes  in  film.  Many  projectionists  use  china-marking 
crayons  on  the  base  side  of  the  film  for  temporary  cur- 
tain cues  which  can  be  wiped  off  with  a  clean  cloth 
before  the  film  is  returned  to  the  exchange.  Red  china- 
marking  crayon  cues  show  up  the  best,  but  the  red  dye 
seems  to  streak  over  the  film  to  form  an  indelible 
smear.     The  black  crayons  are  safest.  iP 


If  you  want  crisp,  top-quality  prints— and  you  most  certainly  do— don't  waste  good 
negative  quality  by  pushing  your  laboratory  into  making  short  cuts.  Give  them 
time  to  do  the  job  right  with  the  right  materials.  In  other  words,  GO  EASTMAN 
all  the  way— negative  and  print-stock.  For  the  purchase  of  film,  technical  queries, 


and  service,  write  or  phone:  Motion  Picture  Products  Sales  Department, 
EASTMAN  KODAK  COMPANY,  Rochester,  N.Y.  14650,  or  the  regional 

sales  divisions,  200  Park  Avenue,  New  York,  N.Y.;  130  East  Randolph 
Drive,  Chicago,  III.;  6706  Santa  Monica  Boulevard,  Hollywood,  Calif. 


EASTMAN  FILM 


You  can't  stretch  time: 


If  you  want  crisp,  top-quality  prints— and  you  most  certainly  do-don't  waste . 
negative  quality  by  pushing  your  laboratory  into  making  short  cuts.  Give  them 
time  to  do  the  job  right  with  the  right  materials.  In  other  words,  GO  EASTMAN 
all  the  way-negative  and  print-stock.  For  the  purchase  of  film,  technical  queries 


and  service,  write  or  phone:  Motion  Picture  Products  Sales  Department, 
EASTMAN  KODAK  COMPANY,  Rochester,  N.Y.  14650,  or  the  regional 
sales  divisions,  200  Park  Avenue,  New  York,  N.Y.;  130  East  Randolph 
Drive,  Chicago.  III.;  6706  Santa  Monica  Boulevard,  Hollywood,  Calif. 


...ifclfj 


Strong  Develops  New  Arc  Lamp 

For  35mm  Portable  and  16mm  Projector 


A  new  high  intensity  reflector 
type  projection  arc  lamphouse  and 
associated  rectifier  equipment  for 
use  with  35mm  portable  and  semi 
portable  projectors  and  16mm  pro- 
jectors has  been  developed  by  the 
Strong   Electric  Corp.   The   2600  lu- 


mens of  light  produced  for  16mm 
projection  and  4000  lumens  produc- 
ed for  35mm  projection  is  approxi- 
mately four  times  that  of  a  mazda 
light  source,  in  both  instances  suf- 
ficient for  showing  brilliant  pictures 
up   to    18   feet   in   width.   The   snow 


white  character  of  the  light  makes  it 
ideal  for  the  projection  of  colored 
films. 

The  type  48600-1  lamp  for  16mm 
projectors  uses  a  6mm  x  8%"  posi- 
tive and  a  5%mm  x  6"  copper  coat- 
ed Pearlex  negative  carbon  to  burn 
for  an  hour  at  30  amperes  and  th<> 
type  48400-2  lamp  for  35mm  pro 
jectors  utilizes  a  6mm  x  9"  nega- 
tive and  a  7mm  x  12"  copper  coat- 
ed positive  to  burn  one  hour  and 
twenty  minutes  at  40  amperes. 

Known  as  the  Univarc,  the  lamp- 
house  weighs  only  55  pounds,  and 
shipping  weight  is  70  lbs.  The  40 
ampere  type  measures  29  29/32"  long 
x  14  3/8"  high  x  11  7/16"  wide 
and  the  30  ampere  type  measures 
28  13/16"  long  x  14  3/8"  high  x 
11  7/16"  wide. 

Direct  current  for  the  40  ampere 
29-30  volt  arc  is  supplied  by  a 
4-tube  Type  16200  rectifier  which 
measures  13"  x  20"  x  21"  and  weighs 
125  pounds  and  the  30  ampere  26-28 
volt  arc  is  supplied  by  a  two-tube 
Type  26,000  rectifier  which  meas- 
ures 20"  high  x  12"  wide  x  11" 
deep  and  weighs  100  pounds.  The 
single  phase  full  wave  rectifiers  for 
16mm  projection  consist  mainly  of  a 

(Please  turn  to  page  12) 


Cbtwafr  PROVED  BYTEST...BYFARTHE  BES1 

Arc  Lamps  and  Rectifiers  for  Every  Projector... for  Every  Theatre. . .The  World's  Finest 


HERE  ARE  THE  FACTS 


A 


y< 


SUPER  CINEX  ...  The  masterpiece 
of  the  most  experienced  projection  lamp 
designer.  No  other  lamp  has  even  re- 
motely approached  its  perfection  from 
every  point  of  view— mechanically,  elec- 
trically, optically,  hydraulically  or  its  fine 
air-conditioned  system.  Its  durability  and 
stamina  have  been  proved.  More  and  more 
fine  theatres  and  drive-ins  are  re-equip- 
ping with  Ashcraft  Super  Cinex  daily  due 
to  their  fine  reputation  for  perfect  screen 
light  and  service.  Current  range  with  1  3.6 
mm  carbon,   125-165  amperes. 


CORE-LITE  ...  the  latest  and  most 
phenomenal  producer  of  white  light  at 
lowest  possible  operating  cost  in  the  fam- 
ily of  Great  Ashcraft  Arc  tamps.  Same  arc 
burner  and  arc  controls  as  the  SUPER- 
CINEX.  Same  quality  and  built-in  reliabil- 
ity. The  lamp  is  optically  designed  to  give 
greater  white  light  distribution  at  less  cost 
for  carbons  and  electricity.  There  is  none 
better— anywhere!  70-110  amp. 


CINEX  35/70  SPECIAL ...  The 

Great  of  the  Ashcraft  Arc  tamps  is  a  modi- 
fied Super  Cinex.  tike  the  Super  Cinex  no 
third  element  or  relay  lens  is  necessary 
regardless  whether  35  mm  or  70  mm  film 
is  being  projected.  Uses  a  13.6  mm 
high  intensity  positive  carbon  at 
current  ranges  between  1  25  and 
140  amperes. 


RECTIFIER . . .  THE  SPECIAL  CORE- 
LITE  1 2  PHASE  HIGH  REACTANCE 

RECTIFIER  .  .  .  designed  for  the  require- 
ments of  the  Core-Lite  lamp,  this  rectifier  will 
give  the  best  results.  Low  reactance  6  phase 
rectifiers  should  not  be  used.  Certain  motor  gen- 
erators, but  not  all,  are  acceptable.  The  special 
Core-Lite  S/1212  rectifier  will  give  you  long, 
excellent  service  with  an  absolute  minimum  of 
expense.  Other  Ashcraft  rectifiers  available  for 
every  power  need.  The  cost  is  no  more  than  for 
inferior  rectifiers. 


SOlD  *"«»WHE«E  IN  THE  UNITED  STATES  BT  LEADING  AUTHORIZED  THEATRE  SUPPLY  DEALERS 

C.S.  ASHCRAFT  MFG.  CO.,  INC.  •  36-32  38th  STREET-  LONG  ISLAND  CITY  1,  N. 


Cover  Story: 

Boat  Show  Exhibit  Uses  XeTRON 
Light  for  Rear  16mm  Projection 


\l  \\  YORK — The  rear  projection 
system  designed  to  show  16mm 
movies  with  the  XeTRON  lamp  was 
demonstrated  here  at  the  National 
Boat  Show,  an  important  part  of  the 
Johnson   Motor  Co.  exhibit. 

The  Gardner  Display  Co.  of 
Chicago,  built  a  display  to  house  the 
equipment  and  included  a  shadowbox 
arrangement  to  reduce  washout  of 
the  picture  due  to  high  ambient 
lighting. 

\l.  E.  Pickrell  of  the  XeTRON 
Division,  Carbons,  Inc.,  Boonton, 
N.  J.,  supervised  the  installation  and 
instructed  the  operators  to  its  use. 

I  he  result-  were  considered  sen- 
sational and  attracted  man)  people 
to   the  Johnson  display    area,   where 


for  the  first  time  an  excellent  picture 
about  10  ft.  wide  was  being  pro- 
jected in  an  area  where  15  to  20  foot 
candles  of  ambient  lighting  could  be 
measured.  Due  to  the  nature  of  the 
new  light,  ambient  washout  was  no 
problem. 

Bv  using  a  special  wide-angle  lens 
it  »;h  possible  to  make  a  picture 
III  Feel  wide  with  a  projection  dis- 
tance of  only    1<*  feet. 

The  equipmenl  operated  12  hours 
a  day  lor  lit  days  under  the  super- 
\  ision  of  Stanley  Goldstein,  of  1  \ 
New  ^ork  Local  306.  Goldstein  was 
impressed  wiih  the  reliability  of  the 
equipmenl  and  the  result  obtained. 
I  See  cover,  i 

I  he  demonstration  was  -how  n  to 
be     approximately     three    time-     .1- 


Edvvard  Lachman,  President  of  Carbons,  Inc.,  observing  the  operation  of  the 
Johnson  Motor  film. 


Even  when  viewed  from  a  consid- 
erable angle  the  brightness  is  very 
outstanding  as  is  the  Johnson  Motor 
Model,   Miss  Sigrid  Nelsson. 

much  as  screen  brightness. 

This  equipment  will  be  in  opera- 
lion  at  other  boat  shows,  also  for  the 
boat  shows  in  San  Francisco,  Los 
\ni;eles  boat  show,  the  Denver  boat 
-how.  and  Chicago  boat  show.      iP 


An  amazing  demonstration  of  back- 
ground projection  in  an  area  having 
high  (15  to  20FC)  ambient  lighting. 
The  picture  is  10  feet  wide. 


Union  Carbide  Corp.  To  Build  New 
Technical  Facilities  in  Cleveland 


Lnion  Carbide  Corporation  will 
establish  a  technical  center  in  the 
Cleveland.  Ohio,  area  to  consolidate 
its  technical  and  development  activi- 
ties in  the  carbon  and  graphite  fields. 
it   was   announced   by   Birny   Mason. 


Jr..  president.  Motor  and  generator 
brushes  and  mechanical  seal  rings, 
now  manufactured  in  Cleveland,  will 
be  produced  in  a  new  plant  in  Green- 
ville.  S.   C. 

Union   Carbide's  Carbon   Products 


International  Projectionist         February,  1964 


Division  will  operate  both  of  the 
facilities.  J.  R.  Johnstone,  president 
of  the  division,  said  that  the  technical 
center  should  be  in  full  operation  by 
the  end  of  1965.  Work  on  the  Green- 
ville plant  will  begin  in  June,  1964, 
with  completion  scheduled  for  mid- 
1965. 

The   technical   center   will  consoli- 
date  the   activities   of   three   Carbon 
(Please  turn  to  page  14) 

11 


There's    Plenty   for    You    At 

CENTURY! 

,  .   .  and  from  CENTURY  only 


dramatic,  New  ALL  TRANSISTOR 
sound  systems 


''True   high-fidelity, 

distortion  free. 
"Low  installation  cost, 

minimum  space  needs. 


Increased   reliability, 
less   maintenance. 
rNo  vacuum  tubes,  no 
photoelectric  cells. 


*and  the  only  American-made  70  mm  35 
theatre  projection  systems 


SEE 

YOUR  CENTURY 

DEALER 


for  bigger,  brighter  projection. 


CENTURY  PROJECTOR  CORP. 

New  York  19,  N.  Y. 


12 


STRONG   LAMP 

from  page  10 

transformer  for  reducing  the  high 
line  voltage  to  a  potential  correct 
for  operating  the  arc.  an  overload 
circuit  breaker,  line  relay  which  is 
connected  to  a  lamphouse  auto- 
matic door  switch  and  the  necessary 
sockets,  switches,  voltmeter  and 
terminals,  all  of  which  are  housed 
in  a  substantial  metal  case  whicb 
is  provided  with  handles  for  easy 
portability.  The  a-c  load,  or  recti- 
fier input,  does  not  exceed  the  15- 
ampere  iimit  provided  by  any  110- 
volt  convenience  outlet. 

The  live  parts  of  the  lamp  are 
effectively  insulated  from  the  ground- 
ed line  current  by  use  of  a  separate 
primary  and  secondary  winding  in 
the  transformer.  There  is  also  a 
smoothing  reactor  which  is  connect- 
ed in  the  direct  current  circuit  to  the 
arc.  This  reduces  the  a-c  componen' 
so  as  to  eliminate  light  flicker. 

The  lamphouse  is  provided  with 
horizontal,  vertical  and  focus  ad- 
justments for  the  reflector;  manual 
controls  for  carbon  alignment:  an 
adjustable-speed  motor  for  feeding 
the  carbons;  an  arc  imager;  and  an 
ammeter  for  reading  the  current  a., 
the   arc. 

The  reflector  is  10V4  inches  in 
diameter  and  has  a  working  distance 
of  24  inches  for  35mm  projection 
and  18  inches  for  16mm  projection. 
The  geometric  focus  is  S1/^"  for  the 
40  ampere  and  4"  for  the  30  am- 
pere to  result  in  an  f  value  of  f  2.3 
on  the  40  ampere  and  f  1.6  on  the 
30  ampere  to  match  the  commonly 
used  lenses  of  modern  projectors. 

For  further  information  address 
the  Strong  Electric  Corp.,  31  City 
Park   Avenue.   Toledo.   Ohio   43601. 

iP 

S.O.S.  Announces 
New  Appointment 

Arnold  T.  Nappi  has  joined  the 
New  York  staff  of  S.O.S.  Photo- 
Cine-Optics,  as  sales  engineer.  The 
appointment  was  announced  by  the 
firm's  president,  Alan   C.   Macauley. 

Mr.  Nappi  comes  to  S.O.S.  from 
Fischer  &  Porter  Co.,  where  he  was 
a  sales  engineer  and  manager  of 
their  New  York  sales  office:  and  has 
also  worked  as  a  mechanical  and 
electronics  technician  for  American 
Machine  &  Foundry  Co..  in  Brook- 
lyn, N.  Y. 

He  began  his  technical  and  engine- 
ering education  early,  receiving  his 
high  school  diploma  in  mechanical 
technology.  iP 

International  Projectionist        February.  1964 


Film  Industry  Calls  Harry  Rubin 
A  "Perfectionist"  — Both  as 
A  Projectionist  and  As  A  Man 


Harry    Rubin 


Ham  !ni>  learned  bis  work  the 
hard  way  (the  other  men  referred  to 
Rubin  a*  "the  kid  projectionist'  at 
a  New  York  film  house  on  the  East 
Side).  He  contributed  much — pio- 
neered is  the  better  word — when  the 
film  industry  was  improving  and 
refining  the  technology  and  the  art 
of  showmanship   in  projection. 

In  V)l~  when  Hairs  Rubin  was 
at  the  New  York  Rialto,  Roxj  had 
Hugo  Riesenfeld,  the  orchester  lead- 
er, write  the  music  score  for  the 
silent  features,  and  Rubin's  job  was 
to  co-ordinate  the  projection  with 
the  musical  effects.  The  projectors 
were  equipped  with  speed  meters. 
The  projectionist  had  to  accelerate 
and  speed  up  the  film  when  the 
orchestra  leader  buzzed  the  booth 
from  the  orchestra  pit.  That  would 
mean  rehearsal  when  the  Rialto  had 
a   new    bill. 

Harry's  wide-screen  presentation 
of  "Old  Ironsides"  at  the  New  lork 
Kivoli  Theatre  in    1 026. 

The  production  had  a  magnificent 
view  of  Old  Ironsides  in  a  battle, 
and  to  take  advantage  of  that.  Rubin 
designed  the  proscenium-wide  screen, 
with  the  screen  masking  drawn  back 
and  up  and  the  screen  image  expand- 
ed in  size  to  fill  the  proscenium  area. 
Harry  had  the  sequence  blown-up 
with  a  wide-angle  lens  in  the  pro- 
jector. It  was  one  of  the  movie  sen- 
sations  of  the  early   1920's. 

Producer-director  Cecil  B.  De- 
Mille.  up  to  his  last  picture,  insisted 
that  Harr\  Rubin  be  around  the  pro- 
jection booth  at  the  premiere  of  his 
new  production.  That  started  with 
C.  B.  at  the  world  premiere  of  the 
original  "Ten  Commandments"  at 
the  Criterion  Theatre  in  1923  when 
Harrv  was  the  head  projectionist. 


PART  2 

J.  Edgar  Hoover  called  on  Harry 
Rubin  to  install  a  motion  picture 
projection  room  at  the  F.B.I,  head- 
quarters   in    Washington. 

For  12  years,  Harrv  Rubin  was 
chairman  of  the  Projection  Practice 
Committee  of  the  Society  of  Motion 
Picture   Engineers. 

\ml  during  those  years  many  new 
projection  developments  were  in  the 
making.  I  nder  Rubin's  leadership 
that  committee  pioneered — to  cite 
onl\  one  detail — the  SMPTE  pro- 
jection room  plans  that  are  now 
standard  guides  to  projection  room 
layout,  consulted  l>\  theatre  men  and 
architects  the   world   over. 

A  fellow  committee  man  said: 
'Those  who  were  privileged  to  work 
under  Harry's  direction  during  those 
years  knew  that  be  always  insisted 
on  quality,  objected  to  the  weak  or 
(independable  solutions  of  problems, 
.-tressed  reliability  of  performance. 
,iml  was  read)  at  the  drop  of  a  hat 
to  take  up  the  cudgel  against  those 
who  would  have  accepted  lowered 
standards  of  projection.  The  pro- 
jection art  owes  him  much  for  the 
basic  work  which  he  did  during 
those   years." 

Harry  Rubin  has  contributed  to 
projection  innovations.  The  film  in- 
dustry can  thank  Harrv  for  his 
patience  and  his  perfectionist  atti- 
tude to  projection.  He  has  many 
new  things  come  before  him  as  a 
projectionist,  and  many  new  pro- 
jection devices  he  has  developed  by 
testing  the  new  projection  equip- 
ment. 

During  the  formative  period  with 
film  projection.  Harry  said  that 
"showmanship  is  involved  with  pro- 
jection," and  he  did  something  about 
it.  iP 


PROJECTIONISTS 
PREFER 

ETHYLOID 

Film  Cement  For 
BEST  RESULTS 

Available  from 
Supply  dealers 

FISHER  MFG.  CO. 

1185  Mr.   Read  Blvd. 
Rochester,  N.Y. 


PROJECTOR 
CARBONS 


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Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport.  Pa 


, 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment   Division 
100   E.  42nd   St.,    New   York   17,   N.Y. 


CARBON  ARCS   .   .   .   for  finest  Projection   .   .   .   Compact  Xenon  Arcs 


Jlowutine  Ale  GgaLomA. 


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CARBONS,   INC. 


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products 


*rj*oss  LAMPHOUSES  •  X^jro/x  POWER  SUPPLIES 

by  Cinemeccanica  by  Christie 


BOONTON,   N.J. 


International  Projectionist         February,  1964 


13 


Union  Carbide 

from  page  11 

Products  Division  development  labor- 
atories now  in  Niagara  Falls.  N.  Y. ; 
Fostoria.  Ohio:  and  Lawrenceburg. 
Tenn.  In  addition  to  the  consolida- 
tion of  development  activities,  those 
existing  departments  responsible  for 
division-wide  engineering,  quality 
control,  and  customer  technical  ser- 
vices will  be  incorporated  in  the 
technical  center.  The  center,  when 
completed,  will  occupy  about  175.000 
sq.  ft.  of  space. 

The  machining  operations  of 
specialty  graphite  and  carbon  pro- 
ducts, now  being  done  at  the  Cleve- 


America's 
headquarters 

lor  all 
theatre  equipment 


supplies 


IV     I  _M_™  I 

THEATRE  SUPPLY  COMPANY 


land  site,  will  be  combined,  in  ex- 
panded facilities,  with  the  division's 
other  specialty  machining  operations 
in  Niagara  Falls. 

Carbon  brushes  are  important  com- 
ponents in  industrial  and  railroad 
motors  and  generators  and  in  elec- 
trical household  appliances.  Carbon 
seal  rings  are  used  in  steam  turbines, 
jet  engines,  and  pumps  for  industrial 
and  household  use. 

Union  Carbide's  Carbon  Products 
Division  (formerly  National  Car- 
bon Company )  has  pioneered  in  the 
fields  of  manufactured  carbon  and 
graphite.  Among  its  many  products 
are  the  giant  electrodes  used  in  elec- 
tric furnaces;  arc  carbons  used  in 
motion  picture  photography,  and 
theatre  projection,  solar  simulation 
and  other  special  lighting;  graphite 
cloth  and  fibers;  and  activated  car- 
bon. New  forms  of  graphite  have 
been  developed  for  nuclear  and  aero- 
space applications.  The  division  also 
produces  special  high-temperature 
refractory   materials.  iP 

Kodak  Appoints 

Simmons  To 

Los  Angeles   Post 

Norwood  L.  Simmons  has  been 
appointed  general  manager  of  the 
West  Coast  division  of  Eastman 
Kodak  Co.  motion  picture  products 
sales  department. 

He  succeeds  John  L.  Courcier.  a 
veteran  of  45  years  in  the  film  in- 
dustry, who  died  Jan.  6,  a  few  davs 
after  his  appointment  to  the  West 
Coast  spot. 

Vaughn  C.  Shaner  succeeds  Sim- 
mons as  manager  of  engineering 
service  at  the  West  Coast  Division's 
Hollywood  offices.  Both  appoint- 
ments were  announced  by  Gerald  B. 
Zornow.  vice  president  for  marketing 
at  Kodak.  iP 


THE  VERY  FINEST 


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they  keep  projectors  in  top  operating  condition  essential 
to  good  pictures,  patron  satisfaction  and  good  business. 
Available  through  your  Theatre  Equipment  Dealer. 


SINCE     1908 


MACHINE   WORKS     n 

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14 


Midwest  Gets  First 
Twin-Screen  Theatre 

CHICAGO  —  Construction  is 
underway  on  Evergreen  Theatres  I 
&  II,  the  Midwest's  first  indoor 
twin-screen  motion  picture  theatre. 
Twin-screen  design  will  permit 
simultaneous  showing  of  two  dif- 
ferent films. 

Evergreen  Theatres  I  &  II  will 
bring  a  new  look  in  motion  picture 
presentation,  convenience  and  com- 
fort to  the  Chicago  area.  The  build- 
ing will  house  a  central  lobby  with 
two  auditoriums  which  will  allow  the 
presentation  of  two  feature  films. 
Though  there  are  a  number  of 
double  outdoor  drive-ins,  the  move- 
ment of  the  twin  screens  indoors 
represents  a  new  direction  in  theater 
design. 

The  theater  will  be  supported  on 
stilts  that  serve  not  only  to  elevate 
the  theater  to  the  same  level  as 
Carson  Pirie  Scott  &  Company,  the 
adjacent  store,  and  its  parking  deck, 
but  to  allow  for  a  parking  area  di- 
rectly underneath  the  structure.  This 
will  allow  theatre-goers  to  avoid  in- 
clement weather  and  brings  the  total 
number  of  free  parking  facilities  to 
over  5,000  when  combined  with 
other  areas  in  the  shopping  center. 

Continuous  malls  make  Evergreen 
Theatres  I  &  II  available  from  all 
buildings  in  the  center  and  eliminate 
the  need  for  changing  levels  while 
shopping   and   theater-going. 

Target  date  for  completion  of  the 
theaters    is    mid-June.    1964.         iP 

Oxberry  Changes  Name 

NEW  YORK— Oxberry  Corp.,  is 
the  new  name  for  the  Animation 
Equipment  Corp.,  38  Hudson  St., 
New  Rochelle,  N.  Y.  Oxberry  will 
continue  to  be  the  trade  name  for 
all  company  products. 

Ownership,  management  and  fin- 
ancial responsibility  are  in  no  way 
affected  by  the  name  change.  Up  to 
seven  years  ago,  the  company's  chief 
products  were  animation  stands  and 
Oxberry  animation  cameras.  Today, 
the  firm  makes  optical  printers,  film 
strip  equipment,  special  projectors 
and  several  types  of  process  cameras 
besides  animation  stands. 

The  Oxberry  precision  film  move- 
ment is  featured  on  most  of  the  com- 
pany's products  which  are  engineer- 
ed to  meet  exacting  specifications  for 
photographic  applications  in  scienti- 
fic, industrial  and  government  fields. 

An  expansion  of  Oxberry  s  engine- 
ering staff  is  planned  in  order  to 
speed  development  on  a  number  of 
new    concepts    and    designs.  iP 

International  Projectionist        February,  1964 


basic 
mathematics 

by  NORM  AN  N.  CROWHURST 


-. r 

+ 


VOLUMES 
1  through  4 
COMPLETE 

not!  couNTwe 
through  uacuin 

«  MOHIN 

UMBO  APffOACH 

ro  lurMUurxs 
we  in  iftB 


PRACTICE 
METHOD 


fl 


LEARNING 
MATHErMTI 


m 

" 


i 


BASIC   MATHEMATICS 

by  Norman  H.  Crouliurst 

4-volume  'pictured-text'  course  makes  it  easier  than 
ever  before  possible  to  learn  all  the  math  you'll  need 
to  know  to  speed  your  progress  in  electronics— no 
short  cuts — no  gimmicks. 

This  remarkable  4-volume  course  takes  you  in  easy 
stages  from  counting  through  algebra,  geometry, 
trigonometry  to  calculus  so  that  you  will  understand 
easily,  quickly,  all  the  math  you  will  need  to  get 
ahead  in  electronics  —  regardless  of  your  previous 
education!  It  employs  an  exciting  new  technique 
presenting  basic  mathematics  as  on  continuous  devel- 
opment of  mathematics.  The  individual  branches  of 
mathematics  are  not  divided  into  separate  and  un- 
related subjects.  Algebra,  geometry,  trigonometry, 
calculus  are  interwoven  at  progressively  rising  levels 
in  the  different  volumes.  Each  volume  reinforces  your 
understanding  as  you  penetrate  more  deeply  into 
the  subjects.  Selected  illustrations  create  clear 
images  of  mathematical  ideas  formerly  difficult  to 
understand. 

A  KNOWLEDGE  OF  MATH  SPEEDS  YOUR  PROGRESS  IN 
ELECTRONICS  —  No  matter  what  your  plans  are  in 
electronics  —  mathematics   plays   a   vital   role.    The 


more  math  you  know,  the  easier  it  is  to  learn 
electronics.  And,  if  you've  set  your  sights  on  being 
an  advanced  technician  or  an  engineer,  this  course 
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Volume  I  —  ARITHMETIC  AS  AN  OUTGROWTH  OF 
LEARNING  TO  COUNT  —  You  gain  the  self-confidence 
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Volume  II  —  INTRODUCING  ALGEBRA,  GEOMETRY, 
TRIGONOMETRY  AS  WAYS  OF  THINKING  IN  MATHE- 
MATICS —  Building  on  the  solid  foundation  laid  in 
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Volume  III  —  DEVELOPING  ALGEBRA,  GEOMETRY, 
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important  part.    #268-4.    $3.90 

Available  at  parts  distributors,   bookstores,  or  direct. 


INTERNATIONAL    PROJECTIONIST 
1645   Hennepin    Avenue,   Suite  212 
Minneapolis,    Minnesota    55403 

Please   send   these    paperback   volumes: 

□  Vol.  I — $3.90;  D  Vol.  II— $3.90;  □  Vol. 
Ill— $3.90;  □  Vol.  IV— $3.90;  D  Send  4- 
Vols.  in  one  clothbound  edition,  $15.95. 


Name 
Address 
City  


Zone 


State 


The 


autiLl  New 


UTU 


PROJECTION  ARC  LAMP 


A  Product  of 

The  ^twif  Electric  Corporation 

31  City  Park  Avenue    •    Toledo,  Ohio  43601 
Phone:  (419)  248-3741 

Brochure  on   request 


WIDER  USE 


Matches  the  optical  requirements  of  all  35mm 
and  70mm  projectors.  A  single  knob  allows 
instant  change  between  film  widths.  A  cali- 
brated scale  with  reference  pointer  facilitates 
precise  reset  of  burner  focus  ...  a  Strong 
exclusive. 


GREATER  CONVENIENCE 


Unit  construction  permits  instant  removal  of 
components  for  cleaning  and  inspection.  25% 
lower  silhouette  permits  easy  installation  in 
low-ceiling   projection   rooms. 


The  FUTURA  n 

with  automatic  crater  positioner  for  13.6mm 
carbon  trim  burning  at  120  to  160  amperes, 
or  for  11mm  carbon  trim  burning  at  100  to 
125  amperes. 


IIWIWIll—l— ■— i MM— 


MORE    LIGHT 


for   all    Indoor  theatre    screens    up   to    65  feet 
and  drive-in  screens  up  to  120  feet. 


LESS    COST 


to  buy  and  less  to  use.  Efficient  utilization 
of  standard  20-inch  carbons  insures  THE 
GREATEST  AMOUNT  OF  LIGHT  EVER  DE- 
LIVERED PER  CARBON  DOLLAR.  Permits 
projection   of   an  extra  reef  per  carbon. 


The   FUTURA  I 

for  utmost  economy  in  operation  with  stand- 
ard 11mm  carbon  trim  burning  at  75  to  105 
amperes. 


MORE    FEATURES 


New  type  relocated  arc  imager  system  elimi- 
nates parallax.  Big  18-inch  first  surface  Strong 
Tufcold  reflectors  used  in  lamps  operating 
above  95  amperes  assure  lower  aperture 
temperatures.  Silvered  reflectors  used  in 
lamps  burning  under  95  amperes.  Stream- 
lined ammeter  for  reading  arc  current.  Auto- 
matic trimming  light.  Inside  dowser  system. 


INTERNATIONA 


*Gr0 


M 


2 


7T 


JP' 


Dane  Hansen,  Local  165  IATSE,  Colsolidated 
Film  Industries'  head  projectionist,  is  pictured  in 
the  booth  of  one  of  CFI's  review  rooms.  Hansen  has 
been  with  CFI  since  1936.     (See  story  on  page  1  1). 


*0*a  *9Z  ao^Sa-pqsBft 
ss&jrJuoo  jo  Arsj.qxi 


""^T 


MARCH 
VOLUME  39 
40c  A  COPY 


i 

1964 

NUMBER  3 

$3.00  A  YEAR 


New.Jrom  [l/^@cir[fi]£\ffl...Type  A704-the  uniform  magnetic  sound  recording  film 


ftfilSR 


ISIS 


Get  brilliant  tone  quality...greater  depth... 
more  vibrant  highs... improved  balance 


LISTEN:  First,  to  Type  A704  — Eastman's  new  magnetic 
sound  recording  film;  then,  to  conventional  films!  You'll 
recognize  the  difference  immediately.  "R-type"  binder- 
permitting  smoother,  more  homogenous  oxide  coatings- 
reduces  surface  noise  and  intermodulation  distortion. 

At  the  same  time,  extremely  wear-resistant  and  chemi- 
cally stable,  "R-type"  binder  minimizes  oxide  build-up  on 
equipment,  making  for  longer  recording  usefulness. 

Most  important,  "R-type"  binder  permits  uniform  oxide 
coatings  of  superb  magnetic  characteristics  which  result 


in  high  output  and  low  print-through  .  .  .  more  vibrant 
highs,  a  more  natural  balance  between  highs  and  lows. 

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INTERNATIONAL 

PROJECTIONIST 

Including  a  special  Audio-Visual  section  relat- 
ing to  the  operation  and  maintenance  of  A-V 
equipment  in  the  educational  and  industrial 
fields. 


Volume  39 


March,  1964 


No.  3 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO   ASSOCIATES 

National  Advertising  Representatives 

545  Fifth  Avenue,   New  York    17,   N.  Y. 

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IN   THIS   ISSUE 

The   Drive-in's   No.    1    Problem  4 

By    Robert   A.    Mitchell 

D-150   Wins   Acclaim  8 

RKO's  New  23rd  St.  Theatre  10 

COVER  STORY; 

CFI's   Review   Facilities  1  1 

News  Notes — Technical  Hints — Miscellaneous  Notes 


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International  Projectionist        March.  1964 


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i 


INTERNATIONAL   PROJECTIONIST 


Volume  39 


March,   1964 


Number  3 


Screen  Light  .  .  . 

The  Drive-in's  No.  1  Problem 

By  ROBERT  A.  MITCHELL 
PART  I 


Rising  Boxoffice  Receipts  and  the  truly  astonish- 
ing ubiquity  of  film  presentations  are  the  best  evidence 
that  theatrical  movies,  like  music  and  literature,  are 
part  and  parcel  of  the  human  scene,  and  are  not  go- 
ing to  be  displaced  by  TV  or  by  any  other  substitute 
in  the  field  of  commercial  entertainment.  There  is  no 
substitute  for  the  entertainment  film  optically  projected 
on  a  large  panoramic  screen! 

The  field  of  professional  movie  presentation  has 
become  so  broad  that  it  embraces  every  conceivable 
place  where  an  audience  can  be  assembled  and  motion 
pictures  shown.  The  very  latest  feature  attractions  are 
now  routinely  exhibited  on  trains,  ships,  and  planes. 
There  are  undersea  theatres  for  skin-diving  enthusiasts, 
theatres  suspended  on  the  dizzy  heights  of  observation 
towers,  "trot-in"  theatres  for  the  horsey  set,  and  screens 
suddenly  materializing  in  the  intimate  atmosphere  of 
cabarets.  The  regular  drive-in  theatre  seems  hardly 
less  orthodox  today  than  the  conventional  4-wall  show- 
place,  and  deserves,  so  far  as  it  can  be  achieved,  the 
same  high  quality   of  projection   and   sound. 

Professional  quality  of  the  screen  presentations  is 
the  keynote  of  successful  movie  exhibition,  especially 
in  these  days  of  near-perfect  color,  higher  image  acut- 
ance,  high-fidelity  soundtracks,  and  panoramic  aspect 
ratios.  No  matter  whether  the  film  is  presented  indoors 
or  out,  in  a  conventional  theatre  or  in  the  most  novel 
screening  locations,  the  craftsmanship  of  a  skilled  pro- 
jectionist practised  upon  the  most  refined  modern  equip- 
ment is  absolutely  necessary  to  the  successful  reproduc- 
tion of  all  the  professional  visual,  aural,  and  dramatic 
qualities  latent  in  the  reels  of  film. 

Perfection   Worth   Shooting   For 

The  drive-in  projectionist,  therefore,  should  strive  to 
attain  indoor-theatre  quality  on  his  outdoor  screen; 
and  with  the  most  powerful  modern  lamps,  mechanisms, 
and  lenses  to  aid  his  efforts,  a  reasonable  degree  of 
success  can  be  expected  even  on  the  larger  drive-in 
screens.  The  film  is  the  same  whether  it  be  shown  in- 
doors or  out,  and  the  audience  expects  the  same  excel- 
lence in  its  presentation — an  uninterrupted  projection 
of  clear,  bright,  rocksteady  pictures  accompanied  by  the 
most  lifelike  sound.     Thanks  to  modern  motion-picture 


technology,  the  severe  drive-in  projection  conditions 
which  militate  against  indoor-theatre  quality  are  being 
overcome. 

The  size  of  the  drive-in  screen  creates  many  prob- 
lems, the  most  obvious  of  which  is  the  attainment  of 
adequate  light  levels.  The  development  of  more  power- 
ful arc  lamps  and  larger,  more  efficient  lenses  has  made 
possible  a  screen-light  level  of  4%  to  5  footlamberts  of 
brightness  even  on  drive-in  screens  100  feet  wide.  This 
is  only  half  the  minimum  brightness  recommended  for 
indoor-theatre  screens,  but  nevertheless  entirely  adequate 
for  comfortable  viewing.  But  with  the  development  of 
more  powerful  lamps,  the  heat  problem  became  more 
serious.  This,  too,  has  been  successfully  vanquished 
by   modern   technological   means. 

Evils  of  Overheating 

Excessive  heat  on  the  film  induces  a  rapid  in-and- 
out  buckling,  or  flutter,  that  hopelessly  blurs  the  pic- 
ture. A  sharp  focus  is  impossible,  particularly  with 
shortfocus  lenses  having  small  depth  of  focus.  More- 
over, hot  film-gate  rails  may  permanently  deform  the 
film,  while  direct  irradiation  in  excess  of  well-defined 
energy  levels  may  actually  blister  the  emulsion  of  black- 
and-white  prints.     Blistered  film  is  unfit  for  further  use. 

Heating  of  the  film  has  been  dramatically  reduced 
by  the  use  of  water-cooled  film  gates,  interference-type 
heat  filters,  and,  especially,  by  interference-type  ("cold") 
arc-lamp  reflectors.  One  or  more  of  these  heat-reduc- 
ing means  must  be  used  in  drive-in  theatres  to  insure 
good  focus  of  the  picture  and  to  prevent  damage  to  the 
film.  Air-cooling  of  the  film  at  the  aperture  may  also 
be  of  benefit,  but  this  method  should  be  used  in  con- 
junction with  water-cooled  gates  and  removal  of  hot 
infrared  radiation  from  the  arc  beam. 

As  for  sound  reproduction  in  drive-in  theatres,  it 
must  not  be  expected  that  small  in-car  speakers  can 
give  the  same  high  quality  of  sound  as  an  expensive 
indoor-theatre  speaker  assembly  having  powerful  low- 
frequency  units  and  the  most  carefully  engineered  speak- 
ers for  the  treble  range.  However,  the  most  modern 
in-car  speakers  undeniably  give  better  sound  than  the 
average  car  radio,  and  are  an  absolute  necessity  for  the 
excellence  of  sound  reproduction  that  drive-in  patrons 
have  a  right  to  expect. 

International  Projectionist        March,  1964 


Secretary  of  the  Treasury  Douglas  Dillon  discusses  prospects 
for  1964  with  the  chairman  of  the  United  States  Industrial 
Payroll  Savings  Committee- — Frank  R.  Milliken,  President  of 
Kennecott  Copper  Corporation. 

■ 


THE   1964    INDUSTRIAL   PAYROLL   SAVINGS   COMMITTEE 
OF  THE  TREASURY  DEPARTMENT 


The  leaders  of  America's  business 
community  invite  you  to  join  in  a 
major  fiscal  undertaking 

"The  volunteer  efforts  of  such  distinguished  busi- 
ness leaders  as  yourselves  on  behalf  of  the  Payroll 
Savings  Plan  are  a  notable  instance  of  the  active 
and  productive  concern  of  American  business  gen- 
erally for  the  fiscal  soundness  and  economic  well- 
being  of  this  nation." 

With  these  words  the  Secretary  of  the  Treasury 
greeted  leaders  of  27  basic  industries  and  opened 
the  1964  planning  of  the  U.  S.  Industrial  Payroll 
Savings  Committee,  a  group  formed  of  key  busi- 
nessmen and  industrialists  who  assist  the  Treasury 
Department  in  its  debt  management  program  by 
promoting  U.  S.  Savings  Bonds. 

The  Committee's  prospects  for  1964  are  bright. 
Thousands  of  companies  will  be  urged  to  promote 
the  Payroll  Savings  Plan  enthusiastically  within 
their  organizations.  Your  support  is  needed.  Will 
you  join  your  fellow  businessmen  to  help  millions 
of  American  employees  help  themselves  by  saving 
regularly?  Your  own  organization — with  your 
backing — can  make  a  splendid  showing! 

For  full  information,  contact  the  chairman  of 
your  field  of  activity  — today. 


Honorary  Chairman: 

Honorable  Douglas  Dillon 

Secretary  of  the  Treasury 

Chairman: 

Frank  R.  Milliken,  Pres. 
Kennecott  Copper  Corporation 
(Copper) 

Members: 

Crowdus  Baker,  Pres. 

and 
James  T.  Griffin,  Vice  Pres. 
Sears,  Roebuck  and  Company 
(Retail  Merchandising) 

Walter  Bouldin,  Pres. 
Alabama  Power  Company 
(Public  Utilities) 

Maurice  R.  Chambers,  Pres. 
International  Shoe  Company 
(Shoe  Manufacturing) 

Harold  W.  Comfort,  Pres. 
The  Borden  Company 
(Food  Manufacturing) 

John  D.  deButts.  Pres. 

Illinois  Bell  Telephone  Company 

(Telecommunications) 

John  D.  Ehrgott,  Chm.  of  the  Bd. 
The  Great  Atlantic  &  Pacific 

Tea  Company,  Inc. 
(Retail  Food) 

Dr  Elmer  W.  Engstrom,  Pres. 
Radio  Corporation  of  America 
(Electronics) 

Ray  R.  Eppert,  Pres. 
Burroughs  Corporation 
(Office  Equipment) 

Raymond  C.  Firestone,  Pres. 

Firestone  Tire  &  Rubber  Company 
(Rubber) 

Alexander  H.  Galloway,  Pres. 
R.  J.  Reynolds  Tobacco  Company 
(Tobacco) 

Harold  S.  Geneen,  Pres. 

International  Telephone  & 

Telegraph  Corporation 
(At  Large) 

John  F  Gordon,  Pres. 

General  Motors  Corporation 
(Automotive) 


Crawford  H  Greenewalt,  Chm.  of  the  Bd, 

E.  I.  du  Pont  de  Nemours  &  Co.,  Inc. 
(Chemicals) 

John  L.  Gushman,  Pres. 

Anchor  Hocking  Glass  Corporation 
(Glass) 

Reed  0.  Hunt,  Pres. 

Crown  Zellerbach  Corporation 

(Paper) 

Thomas  V.  Jones,  Pres  and  Chm. 

Northrop  Corporation 
(Aerospace-Aircraft) 

Clarence  A.  Kelley,  Pres. 
Dixie  Ohio  Express,  Inc. 
(Trucking) 

Lawrence  Litchfield.  Jr.,  Chm.  of  the  Bd. 

Aluminum  Company  of  America 
(Aluminum) 

Joseph  A.  Martino,  Chm.  and  Pres. 

National  Lead  Company 
(Lead) 

Charles  F.  Myers,  Jr.  Pres. 
Burlington  Industries,  Inc. 
(Textiles) 

William  J.  Quinn,  Chm.  and  Pres. 

Chicago,  Milwaukee,  St.  Paul  and 

Pacific  Railroad  Company 
(Railroads) 

M   J.  Rathbone,  Chm.  of  the  Bd. 
Standard  Oil  Company  (New  Jersey) 
(Petroleum) 

H.  I.  Romnes,  Vice-Chm.  of  the  Bd. 

American  Telephone  and 

Telegraph  Company 
(Electrical  Equipment) 

W  Cordes  Snyder,  Jr.,  Chm.  of  the  Bd. 

Blaw-Knox  Company 
(Machinery  Manufacturing) 

C.  E.  Woolman,  Pres. 

Delta  Air  Lines.  Inc. 
(Air  Transportation) 

Leslie  B.  Worthington,  Pres. 

United  States  Steel  Corporation 
(Steel) 

Charles  J.  Zimmerman,  Pres. 

Connecticut  Mutual  Life 

Insurance  Company 
(Insurance) 


in  your  plant. ..promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS 

The  U.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism,  The  Advertising  Council  and  this  magazine. 

INTERNATIONAL  PROJECTIONIST 


International  Projectionist         March,  1964 


Light  rays  from  the  aperture  spread 
out  as  they  pass  through  a  conven- 
tional projection  lens,  represented  here 
by  a  simple  biconvex  element;  and  the 
shorter  the  focal  length  of  the  lens,  the 
more  rapidly  the  rays  diverge.  This 
may  result  in  shading  of  the  sides  and 
corners  of  the  picture  by  the  lens 
holder  and  the  hole  in  the  front  of 
the     mechanism.     A     reverse-Galilean 


lens,  on  the  other  hand,  employs  a 
strong  positive  element  close  to  the 
aperture  to  "pipe"  the  rays  through 
the  lens  holder  with  very  little  diver- 
gence. The  negative  element  at  the 
front  of  the  barrel  diverges  the  near- 
parallel  rays  and  establishes  the  de- 
sired focal  conditions. 

Many  drive-in  theatres,  unfortun- 
ately, are  operating  with  lamps, 
lenses,  projectors,  and  sound  systems; 
that  are  wholly  inadequate  for  their 
exacting  job  and  totally  incompatible 
with  the  high  picture  and  sound 
quality  today's  moviegoers  insist 
upon  regardless  of  the  type  and  size 
of  the  theatre.  It  is  clearly  the  duty 
of  the  projectionist,  after  he  has 
evaluated  the  drive-in's  equipment 
unfavorably,  to  point  out  its  short- 
comings to  the  management  and 
strongly  urge  the  purchase  of  more 
suitable  units. 

Such  projection  troubles  as  jumpy 
pictures,     sidesway,     travel     ghosts. 


"wows"  in  the  sound,  high-frequency 
attenuation,  frequent  film  breaks, 
etc.  are  common  to  all  theatres  and 
not  peculiar  to  the  drive-in.  Actually, 
the  severe  light  requirements  of  giant 
outdoor  screens  with  attendant  heat 
and  focus  troubles  constitute  the 
drive-in's  Number  One  problem,  as 
suggested  by  the  foregoing.  And  the 
logical  place  to  begin  an  attack  on 
the  screen-light  problem  is  at  the 
drive-in  screen,  itself! 

Most  drive-in  screens  are  con- 
structed of  large,  flat,  weather-proof 
panels  with  the  joints  between  them 
sealed  with  a  cement  compound. 
Cement-plaster  screen  surfaces  laid 
over  a  wire-grid  or  steel-rod  backing 
are  also  commonly  used.  But  which- 
ever material  is  used,  the  screen 
surface,  if  perpendicular  to  ground 
level,  should  be  painted  with  at  least 
three  coats  of  a  matte  (non-gloss, 
or  "flat" )  durable  white  paint  of 
high  reflective  power.  The  screen 
must  be  repainted  whenever  the  sur- 
face becomes  dull,  discolored,  streak- 
ed, or  damaged  in  any  way.  Ade- 
quate picture  illumination  is  too  dif- 
ficult and  too  costly  to  achieve  in  a 
drive-in  theatre  to  be  wasted  by  a 
dull   or   darkened   screen    surface! 

Reflectivity  Varies 

You  must  choose  your  drive-in 
screen  paint  with  a  full  knowledge 
of  its  pigment  composition.  Don't  be 
misled  by  "secret  formulas"!  There 
are  only  a  few  suitable  white  pig- 
ments of  high  reflectance — titanium 
white  (titanium  dioxide,  also  called 
permanent  white  I ,  white  lead  (  basic 
lead  carbonate,  also  known  as  flake 
white  and  Cremnitz  white ) .  zinc 
white  (zinc  oxide,  also  called  Chinese 
white),  and  lithopone  (mixture  of 
barium  sulfate  and  zinc  sulfide, 
sometimes   called   silver   white  ) . 

Lithopone  has  the  highest  initial 
reflectivity  (97%),  but  is  unsuitable 
for  painting  drive-in  screens  because 
it  is  slightly  darkened  by  exposure  to 
daylight.  Zinc  white  has  the  lowest 
reflectivity  of  the  four    (93%),  and 


also  the  least  effective  opacity,  or 
covering  power.  However,  zinc  white 
is  completely  permanent,  and  is  not 
discolored  by  time,  light,  or  gases. 
White  lead  has  excellent  covering 
power  and  a  fairly  high  reflectivity 
when  fresh  (95%),  but  is  quickly 
turned  yellowish  brown  by  sulfur- 
containing  fumes  such  as  coal  gases, 
auto  exhaust,  etc.  For  this  reason 
white  lead  should  be  avoided  for 
painting  screens.  Titanium  white  has 
good  covering  power  and  a  very  high 
reflectivity  (96%),  and  is  the  most 
permanent  and  stable  of  all  white 
pigments.  It  does  not  discolor  with 
age  or  upon  exposure  to  light  or 
gases.  Titanium  white  is  definitely 
the  choice  for  use  as  a  screen  paint. 

Pigment  Critical 

Screen  paints  for  -drive-in  screens 
should  have  a  pigment  composition 
of  pure  titanium  dioxide  alone,  and 
not  adulterated  with  any  other  white 
pigment  or  with  such  commercial 
"extenders"  as  asbestine,  talc,  silica, 
whiting,  china  clay,  or  barytes. 
Neither  should  they  contain  magne- 
sium oxide,  a  substance  which  has 
low  covering  power  despite  its  ex- 
tremely high  reflectivity  in  thick  lay- 
ers   (98%). 

Freshly  powdered  titanium  white 
has,  as  we  said,  a  reflectivity  of 
96%.  In  the  form  of  paint  contain- 
ing linseed  oil,  it  has  a  reflectivity 
of  about  90%  when  fresh,  and  about 
85%  after  the  oil  has  aged.  "Chalk- 
ing" of  the  surface  caused  by  the  ef- 
fects of  weather  may  restore  reflec- 
tivity to  a  value  close  to  90%,  but 
it  is  safer  to  reckon  on  85%  as  the 
reflective  power  of  aged  titanium 
white  screen  paint.  This  is  very 
bright  for  a  white  paint,  and  is  the 
value  adopted  in  Table  I,  given  below. 

Now  a  word  of  warning.  Never 
use  aluminum  paint  for  surfacing  a 
perpendicular  drive-in  screen.  Alumi- 
num paint  is  directional;  and  used 
on  a  perpendicular  screen  lighted 
by  projectors  pointed  up  at  it,  most 
of  the  light  will  be  reflected  mirror- 


TABLE   I 

ARC  CURRENTS  AND  CARBON  TRIMS 
NEEDED  FOR  4y2  TO  5  FOOTLAMBERTS 
ON  85%-REFLECTING  WHITE  SCREENS 


SCREEN 

CARBON  TRIM 

WIDTH 

Pos.,  Neg.,  and  Type 

(Feet) 

25 

7  mm  -  6  mm,  Surrex 

30 

7  mm  -  6  mm,  Suprex 

35 

7  mm  -  6  mm  Suprex 

40 

8  mm  -  7  mm,  Suprex 

45 

9  mm  -  8   mm,   Suprex 

50 

10  mm  -   11/32  in,  Reg.  HI 

55 

10  mm  -   11/32  in,  Reg.  HI 

60 

11  mm  -  3/8  in,  Reg.  HI 

65 

13.6   mm   -   7/16   in,   Reg.   HI 

70 

Blown  Arc,   10  mm   Hitex  pos. 

75 

Blown  Arc,  10  mm  Hitex  pos. 

80 

Blown  Arc,  100  mm  Ultrex  pos. 

REQUIRED 

ARC 
AMPERES 

40 

42 

46 

60 

80 
100 
110 
120 
160 
130 
138 
155 


TABLE    II 

ARC   CURRENTS    AND    CARBON    TRIMS 

NEEDED  FOR  4J/2  TO  5  FOOTLAMBERTS 

ON   DIRECTIONAL    SCREENS    (150%    Refl.) 


SCREEN  CARBON  TRIM 

WIDTH  Pos.,  Neg.,  and  Type 

(Feet) 

50  7  mm  -  6  mm,   Suprex 

55  8  mm  -   7  mm,  Suprex 

60  9  mm  -  8  mm,  Suprex 

65  9   mm   -   8   mm,    Suprex 

70  10  mm  -  11/32  in,  Reg.  HI 

75  11   mm  -  3/8  in,  Reg.  HI 

80  11   mm  -  3/8  in,   Reg.   HI 

85  13.6  mm  -  7/16  in,  Reg.  HI 

90  13.6  mm  -  7/16  in,  Reg.  HI 

95  Blown  Arc,  10  mm  Hitex  pos. 

100  Blown  Arc,  10  mm  Hitex  pos. 

105  Blown   Arc,    10   mm    Ultrex   pos 


REQUIRED 

ARC 
AMPERES 

50 

65 

80 

85 
110 
115 
120 
155 
165 
130 
138 
155 


International  Projectionist        March,  1964 


Ill 
the 


light 

pro- 


wise  ovr  the  tops  of  the  car 
the  parking  area  and  up  into 
sk\ . 

In  order  to  obtain  the  light-direct- 
ing benefits  of  aluminum  paint,  the 
screen  must  be  tilted  forward  toward 
the  parking  area  by  an  angle  about 
equal  to  the  upward  projection  angle. 
In  other  words,  the  aluminum  screen 
should  face  the  projectors  squarely. 
If  this  is  done,  a  "low  gain"  alum- 
inum surfacing  will  provide  an  effec- 
tive reflect i\  it \  of  about  150'  <  as  an 
average  over  the  central  part  of  the 
viewing  area,  and  may  be  a  decided 
advantage  when  the  screen  is  more 
than  110  feet  wide.  Experience  indi- 
cates, however,  that  the  results  do 
no  justify  the  increased  construction 
costs  of  tilted  screens  when  the  width 
of  the  screen  is  under  100  feet. 

Fast   Lenses   and 
Beam   Clearance 

In  order  to  get  all  available 
from  the  arc  to  the  screen,  the 
jector  lamp  and  optics  must  have 
maximum  efficiency.  This  means 
that  the  rated  mirror  speed  must  be 
at  least  f  1.9,  and  preferably  f  1.7. 
except  in  the  case  of  "Suprex,"  or 
simplified  high-intensit\  arc  lamps. 
most   of  which  have  an  optical  speed 

of  f  2.3. 

The  projection  lenses  must  be 
antireflection-coated  and  have  a 
speed  of  at  least  f  2.0  or  f  1.9  in  the 
longer  focal  lengths  and  f  1.7  in  the 
medium  and  short  focal  lengths 
This  recommendation  is  a  good  one 
to  follow  when  f  2.3  Suprex  lamps 
are  used.  For  the  most  efficient 
overall  optical  performance,  the  lens 
should  be  somewhat  faster  than  the 
lamp,  a  desirable  state  of  affairs  not 
always   possible   to    achieve. 

It  is  extremely  important  in  drive- 
ins  to  insure  unobstructed  light-beam 
clearance  through  the  projector, 
making  sure  that  the  rear-shutter 
case,  heat  baffles,  and  sight  box  do 
not  cut  into  the  arc-lamp  beam  and 
cause  shading  or  loss  of  light.  This 
is  a  serious  problem  with  the  Sim- 
plex Regular.  Super  Simplex.  Bren- 
kert,  Motiograph.  and  other  mechan- 
isms designed  before  the  davs  of 
widescreen  projection  and  fast  short- 
focus  lenses.  In  some  cases  the  ob- 
structing parts  can  be  cut  away;  in 
others  it  may  be  necessary  to  install 
special  replacement  parts. 

The  small  lens  holder  and  hole  in 
the  front  of  the  mechanism  case  pro- 
duce severe  vignetting,  or  fadeaway 
at  the  sides  and  corners  of  the  pic- 
ture, when  short-focus  lenses  are 
used  for  widescreen  projection. 
Modern  mechanisms  are  designed 
with  4-inch  diameter  lens  holders; 
and  these  are  adequate  for  the  fastest 

International  Projectionist 


lenses  in  all  focal  lengths.  Unless 
larger  lens  holders  can  be  installed  in 
old-time  mechanisms,  and  the  open- 
ing in  the  front  of  the  case  enlarged, 
special  long-tube  short-focus  lenses 
must  be  used  to  avoid  vignetting  and 
loss  of  light. 

These  special  long-tube  lenses  not 
onlv  eliminate  the  vignetting  prob- 
lem with  Simplex  Regulars  and  other 
old  machines,  but  give  the  brightest 
pictures  possible  and  a  more  consis- 
tentlv  sharp  focus  than  ordinary 
short-focus  lenses  do.  They  have  an 
optical  speed  of  f  1.7.  are  antire- 
flection-coated, and  are  manufactur- 
ed l>\  the  Kollmorgen  Optical  Cor- 
poration under  the  series  named 
"X-tended  Super  Snaplites."  I'hev 
arc  available  in  focal  lengths  of  from 
l1^.  to  3  inches,  and  all  have  a  barrel 
diameter  of  2.7!!1   inches. 

The  optical  design  of  an  X-tended 
lens  bears  a  resemblance  to  that  of 
an  opera  glass,  or  Oalilean-tv  pe  tele- 
scope, used  in  reverse.  The  strong 
"'positive'"  lens  element  faces  the 
film,  and  maintains  a  nearlv   con>lant 

beam  diameter  through  the  long  bar- 
rel. The  "negative"  clement  partialis 
counteracts  the  effect  of  the  positive 
element  and  establishes  the  correct 
focus.  This  type  of  optical  svstem 
has    the   advantage    of    an    unusuallv 

■.: I  depth  of  focus,  making  the  lens 

relativel)  immune  to  the  focus-ruin- 
ing effects  of  film  buckle. 

Clearer    Pictures 

Owners  <>f  drive-ins  requiring  len- 
ses of  3  inches  or  shorter  E.  F.  for 
non-anamorphic  widescreen  projec- 
tion should  seriously  consider  the 
purchase  of  Kollmorgen  X-tended 
Super  Snaplites  for  brighter  and 
much  clearer  pictures.  These  unusual 
lenses  are  so  satisfactory  in  every 
way  that  they  are  even  widely  used 
in  modern  mechanisms  having  large 
lens  mounts!  The  pictures  are  much 
sharper  than  is  possible  with  ordin- 
ary short-focus  lenses  under  the 
severe  heat  conditions  imposed  by 
powerful  arc  lamps. 

The  use  of  reversed  anomorphic 
lenses  commends  itself  in  drive-ins 
having  "throws"  so  long  that  the 
focal  length  of  the  CinemaScope 
prime  lenses  would  otherwise  be  ex- 
cessive. Even  the  biggest  lenses  in 
the  longest  focal  lengths  are  not 
quite  so  fast  as  lenses  in  more 
moderate  focal  lengths.  Instead  of 
expanding  the  horizontal  dimension 
of  the  CinemaScope  image  2  times  to 
double  the  width  of  the  projected 
picture,  a  reversed  anamorphic  lens 
squeezes  the  vertical  dimension  to  % 
the  normal  picture  height.  The  end 
result  is  the  same,  but  the  reversed 
anamorphic  lens  permits  the  regular 

March,  1964 


SMjgi&fc^; 

m:  uTi—MMf 

IPP^i 

**»%       mm 

The  small-diameter  lens  holder  of 
most  of  the  older  projectors  cut  into 
the  diverging  beam  of  light  rays 
thrown  forward  by  fast  lenses  of  short 
focal  length,  wasting  light  by  shading 
the  sides  and  corners  of  the  picture. 
The  short-focus  f/1.7  Kollmorgen 
X-tended  Super  Snaplites  eliminates 
shading  by  utilizing  reverse-Galilean 
optics  to  "pipe"  the  light  through  the 
small-diameter  lens  holder  without 
vignetting.  In  addition,  X-tended  Super 
Snaplites  have  such  a  great  depth  of 
focus  that  many  exhibitors  use  them 
in  the  most  modern  projectors  for  the 
clearer,  more  evenly  illuminated  pic- 
tures they  make  possible. 


projection  lens  for  non-anamorphic 
projection  to  be  used  as  the  prime 
lens  for  CinemaScope  projection. 

Best   Heat   Reducer 

Water-cooled  film  gates  are  very 
desirable  when  arc  currents  are  so 
high  that  the  film  might  otherwise  be 
warped,  or  permanently  buckled,  by 
hot  gate  rails.  Air  cooling  helps  re- 
move heat  from  the  picture  area  of 
the  film,  and  is  of  positive  benefit 
in  curved  gate  mechanisms.  There 
is  some  evidence  that  air  cooling 
generates  film  flutter  in  flat-gate 
machines.  When  "cold"  arc-lamp 
mirrors  and  water-cooled  gates  are 
used,  air  cooling  is  probably  un- 
necessary. 

If  ordinary  silver-coated  reflectors 
are  used  in  the  lamps,  and  the  arc 
current  exceeds  75  amperes,  inter- 
ference-type heat  filters  should  be 
interposed  in  the  arc  beam.  These 
reflect  most  of  the  invisible,  heat- 
producing  infrared  radiation  and  al- 
low most  of  the  light  (about  85%) 
to  pass  on.  In  order  to  avoid  this 
rather  serious  loss  of  light,  inter- 
ference-type "cold"  mirrors  should 
be  used  without  heat  filters.  "Cold" 
mirrors  (such  as  the  Strong  TufCold 
and  the  Bausch  &  Lomb  BalCOLD) 
transmit  the  useless  infrared,  but  re- 
flect light  as  well  as  silver  mirrors  do. 
Please  turn  to  Page  13 


'I 


D-150  Demonstration  Run 
Gets  Unanimous  'Raves' 


A  demonstration  of  Dimension- 
150  was  held  recently  at  the  Skouras 
Syosset  Theatre,  Syosset,  Long 
Island,  N.  Y. 

At  the  invitation  of  Marshall 
Naify,  president  of  Dimension-150, 
film  industry  executives  and  exhibit 
ors  attended.  They  report  the  equip- 
ment had  notable  depth  of  focus, 
definition  and  clarity. 

Dimension-150  is  the  newest  de- 
velopment in  the  field  of  wide- 
screen.  The  system,  single-image  in 
connection  with  Todd-AO,  requires 
a  65mm  camera  equipped  with  wide- 
angle  lenses  and  standard  70mm  pro- 
jection machines  for  presentation  on 
a   deeply-curved     screen.      The    new 


tion  to  the  new  process  are  "South 
Pacific"  and  "80  Days  Around  the 
World."  Louis  de  Rochemont  expects 
to  release  a  feature  in  D-150  by  earlv 
1965. 

Motion  picture  producers  and 
technical  experts  in  the  field  of  cine- 
matography have  expressed  great 
enthusiasm  about  the  process  and  the 
many  benefits  to  be  derived  in  pro- 
duction and  exhibition  through  its 
use. 

Thus,  the  new  process  offers 
the  producer  and  exhibitor  maximum 
flexibility — from  big,  deeply-curved 
screen  for  'hard  ticket'  roadshow 
policy,  to  standard  flat-screen  with 
70mm  prints   and    35mm    reduction 


D-150  image 
65mm  neg. 


D-150  film  section  compared  to  35mm 


process  offers  producers  and  exhibi- 
tors maximum  flexibility — from  big, 
deeply-curved  screen  for  roadshow 
policy,  to  standard  flat-screen  with 
70mm  prints  and  35mm  reduction 
prints  in  subsequent  runs. 

Dimension-150  printing  utilizes  a 
standard  65-70  optical  printer,  and 
allows  an  area  for  stereographic 
6-track.  The  system  requires  50°,  70°, 
120°  and  150°  lenses.  Specially  de- 
veloped print  lens  "corrects"  image 
for  projection  on  deeply-curved 
screens.  This  printing  permits  the 
correcting  of  previously  photograph- 
ed 70mm  material.  Projection  optics 
proved  extreme  wide-angle  projection 
to  ensure  viewing  of  a  substantially 
distortion-free  picture  on  a  deeply- 
curved  screen. 

Dimension-150  was  developed  by 
Dr.  Richard  Vetter  and  Carl  W.  Wil 
liams.  Dr.  Vetter  is  assistant  pro- 
fessor of  audio-visual  communication, 
and  Carl  Williams  is  instructor  in  the 
same  department.  Both  are  from  the 
University  of  California  at  Los 
Angeles.  Their  system  employs 
screens  from  120  degrees  to  150  de- 
grees of  arc,  depending  on  the  physi- 
cal features  of  various  theatres.  A 
typical  deeply-curved  screen  size: 
34'  high  by  92'  wide;  its  aspect  ratio 
is  2.7  to  1. 

Two  re-releases  suitable  for  adapta- 


prints  in  subsequent  runs. 

Dimension-150  was  developed  over 
a  period  of  several  years  by  Dr.  Vet- 
ter and  Williams.  Their  many  and 
varied  tests  under  the  most  stringent 
and  demanding  conditions  have  re- 
sulted in  a  combination  of  technical 
developments   to   assure   motion   pic- 


projector 
Auditorium,  showing  projection  arc 

ture  producers  the  maximum  in  pho- 
tographic and  projection  quality. 

The  unique  flexibility  factors  of 
D-150  in  both  photography  and  exhi- 
bition, plus  its  ability  to  create  a 
sense  of  realism  and  audience  partici- 
pation mark  an  important  step  for- 
ward in  the  technical  advancement 
of  the  motion  picture  medium. 

The  reactions  of  motion  picture 
and  entertainment  trade  journals 
have  matched  the  enthusiasm  of 
D-150's  developers.  Following  other 
debut  showings  over  the  U.  S.,  trade 
reporters  gave  the  new  process 
"raves,"  and  heralded  it  an  important 
milestone  in  the  state-of-the-art. 

One  of  the  more  important  com- 
ments that  came  out  of  many  re- 
views was  the  absence  of  distortion 
over  the  entire  150°   arc  sweep.  iP 


close-up  photography  still  and  action  photography 


ultra-wide  angle  audience 

participation  sequences 

Projection  arcs  employed  in  D-150 

International  Projectionist        March,  1964 


Don  Davis  of  Chicago  (standing),  Altec  Lansing  sound  specialist,  checks 
out  new  sound  laboratory  equipment  with  Harry  Thielvoldt  of  Northwest  Sound 
Service,  Inc.,  Minneapolis. 

Sound  Laboratory  Takes  the 
Guesswork  out  of  Acoustics 


Northwest  Sound  Service  <>f  Min- 
neapolis is  now  full)  equipped  to 
make  scientific  acoustic  analysis  and 
sound  system  tests.  The)  recently 
purchased  a  $5,000  portable  sound 
laboratory  with  some  of  the  equip- 
ment developed  b\  Purdue  Univer- 
sity  only  a  few   months  ago. 

The  sound  laboratory  is  the  same 
t\pe  of  equipment  used  by  the  U.  S. 
Bureau  of  Standards.  It  take-  the 
guesswork  out  of  sound  engineering 
and  often  saves  thousands  of  dollars 
by  enabling  trained  sound  specialists 
to  make  detailed  recommendations 
for  improving  sound  that  are  based 
on  scientific   facts. 

This  equipment  turns  an  auditor- 
ium or  church  into  a  huge  test  area. 
It  generates  a  piercing  1  100-second 
pulse  that  checks  the  "echo"  or  re- 
verberation time.  The  initial  sound 
pulse  triggers  the  recording  equip- 
ment. The  "echo"  bounces  back 
from  the  ceiling,  walls,  windows,  bal- 
cony, etc..  and  the  return  time  and 
intensity  are  measured,  graphically 
displayed  and  automatically  photo- 
graphed -  all  within  a  few  seconds. 
These  tests   are   repeated   across   the        quality. 

International  Projectionist        March,  1964 


entire  sound  spectrum  as  the  auto- 
matic equipment  records  the  auditor- 
ium's acoustical  "personality." 

By  studying  the  maze  of  photo- 
graphs and  graphs,  the  skilled  sound 
technician  can  pinpoint  the  source  of 
trouble  as  accurately  as  the  radar 
operator,  and  locate  the  areas  that 
are  dead,  too  loud  or  fuzzy.  For 
example,  in  churches  or  other  multi- 
purpose buildings  good  music  re- 
quires long  reverberation  time  at  low 
frequencies  to  give  it  rich,  full  tone 
quality.  But  short  reverberation  time 
at  higher  frequencies  is  required  foi 
speaking  to  make  the  voice  crisp, 
clear  and  easily  understood.  A  sound 
survey  permits  a  scientific  compro- 
mise to  retain  the  best  characteristics 
of  both  speech  and  music. 

Northwest  Sound  Service  is  a  pio- 
neer in  acquiring  this  advanced  lab- 
oratory equipment.  Like  a  doctor 
checks  a  patient,  the  sound  specialist 
obtains  photographic  evidence  from 
oscilloscope  patterns  and  strip  charts 
made  by  the  sound  itself  as  it  booms 
and  bounces,  echoes  and  re-echoes  to 
smother  the  original  sound's  natural 


iP 


NY,   Eastern   Film 
Making  Boosted 
by  Acquisition 

Florman  and  Babb,  Inc.,  a  lead- 
ing supplier  and  servicer  of  motion 
picture  equipment,  has  acquired  a 
controlling  interest  in  the  Camer^ 
Equipment  Corporation  and  Ceco 
Industries.  Inc. 

The  motion  picture  industry's 
future  activities  in  the  New/  York 
area,  specifically,  and  the  entire  East 
Coast,  generally,  are  certain  to  be  af- 
fected by  the  move,  according  to 
Arthur  Florman.  President  of  Flor- 
man  and   Babb. 

Florman  added.  "With  the  indus- 
tr\  showing  a  steady  increase  in  pro- 
duction of  theatrical,  commercial,  in- 
dustrial, educational  and  scientific 
films,  it  became  obvious  that  if  the 
present  rate  of  growth  was  to  be 
maintained,  more  and  better  facili- 
ties would  have  to  be  made  available 
to  the  film  producer.  The  move  is  a 
giant  step  in  that  direction,  and  one 
that   will   insure  continued  growth." 

Florman  also  pointed  out  that  "The 
combined  knowledge  of  the  enlarged 
staff  of  technicians  will  be  made 
available  to  all  producers — large  and 
small.  Their  collective  know-how, 
with  respect  to  the  tools  of  the  trade, 
cameras,  lighting,  grip,  sound  and 
editing  equipment,  for  example,  will 
be  at  the  producer's  disposal."        IP 

B  &  L  Chairman  Retires 

ROCHESTER,  N.  Y.  —  Carl  S. 
Hallauer.  board  chairman  of  Bausch 
&  Lomb  Incorporated,  retired  from 
active  duty  with  the  company  Janu- 
ary 31,  1904.  He  reached  the  manda- 
tory retirement  age  of  70  on  Janu- 
ary 5. 

At  the  request  of  the  board,  he  is 
remaining  as  chairman  and  will  serve 
as  a  consultant  to  the  company  with 
which  he  has  been  associated  for 
over  45  years. 

Hallauer  started  with  Bausch  & 
Lomb  in  1919  as  manager  of  Indus- 
trial Relations.  iP 

SMPTE  Exhibit, 
Conference  Set 
For  April   13-16 

NEW  YORK  —  Motion-picture 
laboratory  equipment  will  be  in  the 
spotlight  at  the  Equipment  Exhibit 
April  13-16,  during  the  95th  Techni- 
cal Conference  of  the  Society  of  Mo- 
tion Picture  and  Television  Engi- 
neers (SMPTE).  The  semi  annual 
conference  will  be  held  at  the  Ambas- 
sador Hotel  in  Los  Angeles.  iP 


New  RKO  Theatre 
Graces  23  rd  Street 

With  the  opening  of  RKO  23rd  Street  Theatre  (on 
23rd  Street  near  Eighth  Avenue)  the  RKO  Theatre  chain 
is  now  operating  eight  theatres  in  Manhattan. 

The  new  theatre  is  of  the  stadium  type.  Modern  in 
architecture  and  decor,  its  seating  capacity  is  900. 

The  projection  booth  was  equipped  by  Joe  Hornstein, 
Inc.  with  Norelco  35/70  mm,  mounted  with  Ashcraft 
Super  Cinex  (water  cooled)  and  Ashcraft  rectifiers. 
Bausch  and  Lomb  lenses  are  used  for  flat,  CinemaScope 
and  70mm  projection. 

The  sound  system  reproduces  single  track  optical, 
and  three,  four  and  six  track  magnetic.  Mixing  is  done 
at  high  level  with  Ampex  and  RCA  equipment.  Five 
sets  of  RCA  stage  loud  speakers,  and  surround  speakers 
are  concealed  in  the  ceiling  and  at  the  rear  wall  of  the 
auditorium.    Projection  is  zero. 

Push-button   Screen 

The  screen  is  a  23x46  ft.  Hurley  Super-Option,  and 
can  be  masked  to  fit  all  processes  and  aspect  ratios  by 
push  button  control  from  the  booth.  Morris  Heller, 
Irving  Specland,  Michael  Goldstein,  Joseph  Schweit  and 
Benjamin  Phillips  make  up  the  projection  crew. 

The  RKO  23rd  Street  is  part  of  the  Penn  Station 
South  development,  by  Mutual  Redevelopment  Houses 
Inc.  RKO  Theatres  has  a  long-term  lease.  Mutual  Re- 
development has  constructed  the  outside  walls  of  the  new 
theatre.  Under  the  agreement,  RKO  Theatres,  at  a  cost 
of  more  than  $350,000,  constructed  and  decorated  the 
interior  of  the  theatre.  The  walls  of  the  theatre  are 
landscaped  on  three  sides.  John  J.  McNamara,  architect 
for  the  RKO  Theatres,  and  Herman  J.  Jessor,  architect 
for  the  development,  collaborated  on  the  design. 

Hot  water  during  the  heating  season  and  chilled 
water  in  the  air  conditioning  season  is  piped  into  the 
theatre  from  the  control  plant  of  the  development,  elim- 
inating the  need  for  compressors  or  boilers  in  the 
theatre. 

The  seats  are  Griggs  pushback  type,  with  foam  rub- 
ber added  to  both  the  spring-type  bottoms  and  backs. 
Upholstery  is  a  combination  of  blue  and  gold.  Carpeting, 
by  Stephen  Leedom  Company,  especially  designed  and 
woven  for  the  theatre,  is  a  matching  combination  of 
blue  and  gold. 

Modern    Lighting 

The  lighting  system  is  mainly  down  lights  in  the 
lobby,  sunken  lounge  and  the  auditorium.  Decorative 
lighting  fixtures  are  the  only  exception  to  the  down 
lighting.  Auditorium  down  lights  are  by  Century  Light- 
ing Company.  Wall  brackets  and  general  lighting  fix- 
tures are  by  Adams  Lighting  Company.  All  auditorium 
lighting  is  motorized,  two-scene,  Kleigl  silicon  type 
electronic  dimmer  system,  controlled  from  the  projection 
room. 

Two  motorized  curtains,  proscenium  and  title  curtain, 
arranged  for  stopping  at  any  position,  are  controlled 
from  the  booth.  The  attraction  signs  are  illuminated  by 
fluorescent  lamps,  installed  by  Artkraft  Strauss.  Change- 
able sign  letters  are  Adler  Silhouette  in  colors. 

Sal  Parete  is   the  manager   of  the  theatre,   which   is 
being  operated  on  a  first-run  policy.  iP 

10 


The  modern  facade  of  the  RKO  23rd  Street  Theatre 
in  Manhattan  is  a  suggestion  of  the  modern  decor  and 
furnishings  inside. 


Norelco  35/70mm  projectors,  fitted  with  Bausch  and 
Lomb  lenses,  are  capable  of  flat,  CinemaScope  and  70mm 
projection.  Ashcraft,  RCA  and  Ampex  equipment  is  also 
used  in  the  theatre's  optical  and  sound  amplification 
systems. 


The  RKO  23rd  St's  900-seat  auditorium  is  done  in 
blue  and  gold.  This  photo  shows  its  well  modulated  down- 
light  system,  and  reveals  the  house's  excellent  acoustic 
properties. 

International  Projectionist        March,  1964 


Pictured  here  is  one  of  the  five  review  rooms  at  CFI  where  customers'  films 
are  projected  at  the  Hollywood  facility. 

COVER  STORY: 

CFI  Review  Rooms  Boast  the 
Finest  in  Projection  Equipment 


Consolidated  F  i  1  m  Industries 
i  CFI  i .  one  of  the  country's  largest 

and  most  modern  film  processing 
laboratories,  is  the  site  of  the  latest 
in  projection  equipment  operated  bv 
skilled  professionals  emplo)  ing  Stan- 
dard  techniques. 

This  Hollywood  concern,  founded 
in  1920.  maintains  and  operates  five 
full) -equipped  review  rooms  for  use 
by  its  customers  in  viewing  all  t\pes 
of  commerical  films  from  lOmm 
black-and-white  or  color  educational 
films  to  35mm  anamorphic  <>r  wide- 
screen  color  spectaculars. 

Ml  rooms  have  high-gain  alumin- 
ized  screens,  and  are  equipped  with 
CFI-de\ eloped  scene  counter  systems, 
for  which  the  company  was  present- 
ed a  technical  award  from  the  Acad- 
emy of  Motion  Picture  Arts  and 
Sciences  in  1956.  These  scene  coun- 
ters operate  a  read-out  device  located 
at  the  base  of  the  screen,  which 
allows  the  viewer  to  identify  scenes 
by  number  during  projection  so  that 
minor  intensity  and  color  corrections 
may  be  indicated  on  the  light  cards 
or  timing  cue  sheets  for  use  in  mak- 
ing subsequent  prints. 

In  keeping  with  CFI's  policy  of 
utilizing  only  the  most  modern  equip- 
ment available,  in  1963.  all  three 
35mm  projection  booths  were  fur- 
nished with  pairs  of  Zeiss-Ikon 
"Xenosol  III"  lamphouses.  Two  of 
these  booths  are  equipped  with  2500 
watt  lamps,  and  the  other  with  1600 
watt  lamps. 


In  addition  to  the  Simplex  Pro- 
jectors! which  are  used  exclusive!)  I. 
the  35mm  booths  are  also  equipped 
with  Bell  and  Howell  J\\  lOmm 
Projectors.  The  16mm  review  rooms 
offer  the  use  of  Eastman  Model  25 
Projectors  equipped  for  optical 
sound  reproduction.  All  35mm  rooms 
have  provisions  for  both  optical  and 
magnetic  pick-up  of  sound  tracks, 
with  one  room  having  two  additional 
playback  channels  for  magnetic  pick- 
up. This  room  console  is  equipped 
with   four  volume  controls. 

The  CFI  projection  booths  are 
manned  by  members  of  Local  165. 
1ATSE.  Howard  Bishop,  Al  Bourne 
and  Ed  Lemare  each  have  over  ten 
years"  service  with  CFI.  and  Dane 
Hansen,  head  projectionist,  has  been 
at  CFI  since  1936.  The  projection 
staff  of  five  men  is  rounded  out  by 
Herbert  Starke,  projection  engineer. 
These  men  are  charged  with  main- 
taining constant  color  temperature, 
screen  brightness  and  field  unifor- 
mity in  compliance  with  ASA  Stand- 
ards. 

CFI's  pair  of  16mm  review  rooms 
have  a  seating  capacity  of  about 
twelve  each,  while  the  three  35mm 
rooms  seat  thirty-five,  twenty-five 
and  eighteen  respectively,  bringing 
the  total  to  slightly  over  one-hundred. 
These  one-hundred  seats  offer  Con- 
solidated's  customers  comfortable 
viewing  of  their  prints  in  a  conven- 
ient and  professional  fashion.         iP 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  MeKeesport.  Pa 


ASHCRAFT 


equipment 

Available    from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 
Motion      Picture      Equipment      Division 

100  E.  42nd  St.,  New  York  17,  N.Y. 


America's 
headquarters 

lor  all 
theatre  equipment 


supplies 


National 

THEATRE  SUPPLY  COMPANY 


International  Projectionist        March,  1964 


11 


New  York  Projectionists 
Schedule  May  Meeting 


The  Annual  Spring  Meeting  of  the 
New  York  State  Association  of  Mo- 
tion Picture  Projectionists  will  be 
held  at  the  New  Sherwood  Hotel. 
Hornell,  N.  Y.,  on  Monday,  May  18, 
1964. 

The  meeting  will  be  held  in  con- 
junction with  the  35th  Anniversary 
Affair  of  Local  No.  676  of  Hornell, 
and  marks  the  Local's  35th  year  as  a 
member  of  the  I.A.T.S.E.&M.P.M.O. 

Registration  will  start  at  10:00  a.m. 
in  the  Lobby  of  the  Hotel,  followed 
by  a  day  of  activities  arranged  by 
Business  Agent  Elliott  Hazen  and  his 
Local  676  Committee.  At  2:30  p.m. 
Frank  E.  Coniglio,  Business  Agent  of 
Rochester,  New  York,  Local  253,  will 

25-30  Club  Honors 
C  S.  Ashcraft  Co. 

NEW  YORK— The  25-30  Club,  an 
organization  comprised  mainly  of 
Projectionists  from  Local  306,  re- 
cently held  its  annual  dinner-dance  at 
the  Empire  Hotel. 

A  featured  event  of  the  evening  was 
the  presentation   of  Honorary  Mem- 


Morris  J.  Rotker  (right)  is  shown 
presenting  the  plaque  to  Mr.  and 
Mrs.    Buddy    Ashcraft. 

bership  to  the  C.  S.  Ashcraft  Manu- 
facturing Co.,  Inc.,  including  Clar- 
ence, Mary  and  Buddy  Ashcraft. 
Buddy  Ashcraft  and  his  wife  accept- 
ed the  plaque  on  behalf  of  Clarence 
and  Mary  Ashcraft.  Morris  J.  Rotker, 
past  club  president,  presented  the 
plaque.  iP 


preside  over  the  business  meeting. 

The  Ladies  Auxiliary  will  meet  at 
2:30  p.m.  in  a  room  provided  for 
them  by  Local  676.  A  relaxation 
room  for  guests  will  also  be  furnished 
by  the  Local.  A  dinner  will  conclude 
the   affair. 

All  wishing  to  attend  are  asked  to 
contact    Elliott    Hazen    at    10    Mays 
Avenue,  Hornell,  N.  Y.,  by  Mav  11. 
According  to  George  F.  Raaflaub, 
secretary-treasurer,  at  the  last  associa- 
tion meeting  held  in  Utica,  N.  Y.,  in 
October,  1963,  the  following  resolu- 
tion  was   unanimously   adopted   and 
ordered  forwarded  to  the  producers 
of  motion   pictures: 
"That     a     standard     title     be 
placed  on  all  films  and  each 
reel  to  be  plainly  marked  with 
reel  number  printed  in  Large 
Type    and    not    overdeveloped 
so   that    the    projectionist    can 
readily    determine    the    name 
and  number  of  each  individ- 
ual reel.  That  the  cue  dots  be 
printed    on    the    ends    of    the 
reels  on  light  scenes  or  circled 
so   that   the    projectionist    will 
not    have    to    resort    to    ugly 
markings  of  his  own."  iP 

Wolk,  Inc.  Adds  RCA 
Equipment-  to  its  Line 

Edward  H.  Wolk,  Inc.  of  Chicago 
recently  announced  it  has  acquired 
the  RCA  (Brenkert)  35mm  Projec- 
tor and  Arc  Lamp  Business  from  the 
Radio  Corporation  of  America.  The 
Wolk  Company  now  manufactures 
replacement  parts  for  this  equipment, 
making  them  available  through  local 
theatre  supply  dealers. 

Recognized  throughout  the  world 
as  the  largest  single  supplier  of  re- 
placement parts  for  the  motion  pic- 
ture industry,  the  company  was 
founded  in  1920  by  the  late  Edw.  H. 
Wolk,  one  of  the  pioneers  of  the 
motion  picture  industry.  Today  the 
company  enjoys  a  prominent  posi- 
tion in  the  industry,  maintaining  an 
extensive  inventory  of  precision 
parts  ready  for  immediate  shipment 
to  all  parts  of  the  world.  iP 


Dutch  Introduce 
Projection  Stands 

Negema  Projection  Stands,  made 
in  Holland  and  distributed  in  the 
United  States  by  Burleigh  Brooks, 
Inc.,  are  said  by  the  distributor  to 
offer  a  unique  run-down  of  features, 
all  designed  to  add  to  the  convenience 
of  use  and  ease  of  storage. 

Negema  stands  are  a  full  42'/^  in. 
to  clear  the  heads  of  a  seated  audi- 
ence. Steadiness  and  freedom  from 
vibration  is  accomplished  through 
the  use  of  a  multi-braced  A-frame 
construction  of  tubular  steel.  The 
stand  folds  flat  to  a  mere  S1/-?  in.  for 
easy   storage. 

This  construction  is  sufficient  to 
hold  the  heaviest  16mm  sound  pro- 


A  new  line  of  Dutch-made  projector 
stands,  featuring  rigid  strength  and 
easy  compactability,   is    shown    above. 

jector  with  no  quiver  or  shake.  Level- 
ling and  control  of  the  angle  of  pro- 
jection are  provided  by  one  leg  which 
may  be  adjusted  to  bring  the  pro- 
jected picture  to  exact  alignment  with 
the  screen  edge,  compensating  lor 
uneven  floors  or  tipped  screens. 

A  feature  of  the  Negema  line  is  the 
"piggy-back  platform."  This  is  a 
snap-up  shelf  that  locks  securely  in 
position  on  the  rear  of  the  frame, 
below  the  main  projector  platfoim. 
It  provides  a  rest  for  a  tape  recorder 
in  conjunction  with  a  projector,  kejp- 
ing  both  items  of  equipment  near  at 
hand,  so  one  operator  can  handle 
both  with  optimum  convenience.    iP 


CARBON  ARCS   .   .   .   for  finest  Projection   .   .   .   Compact  Xenon  Arcs 

JlovuUne  Ale  GgsiMohA,  /        Y  vT'w? ni\r* 


division 
•  Brighter  Light  on  Screen 

*  Longer  Burning  per  Carbon 
*  More  Economical 


products 


CARBONS,   INC. 


erjioss  LAMPH0USES 


by  Cinemeccanica 


BOON  TON,   N.J. 


emeu/  POWER  SUPPLIES 

by  Christie 


12 


International  Projectionist        March,  1%4 


Drive-in's   No.    1    Problem 


35  and  70mm 


Neither  "cold"  mirrors  nor  heat 
filters  can  remove  all  of  the  heat, 
however,  for  the  needed  light  rays 
are  just  as  hot  as  the  unwanted  in- 
frared  ra\s. 

The  use  of  a  heat  filter  with  a 
"cold"  mirror  is  wasteful  because  the 
mirror,  itself  has  already  removed 
most  of  the  heat-producing  infrared. 
Any  further  reduction  of  heat  can 
come  onh  through  reduction  of  the 
light — and  light  is  something  we  are 
trying  to  get  more  of,  not  reduce! 
So  don't  use  heat  filters  with  your 
"cold"  mirrors.  It  would  be  cheaper 
to  diminish  your  arc  current  to  re- 
duce the  heat  I  and  the  light  I  b\ 
about  15%  !  This  should  not  be 
necessary — not  even  if  you  are  using 
the  most  powerful  arc  lamps  at  the 
highest  currents  possible. 

Arc    Current  You    Need! 

The  minimum  recommended 
screen  brightness  for  drive-in  thea- 
tres is  41  o  footlamberts  at  the  center 
of  the  screen  when  the  projector  is 
run  without  film  and  the  brightness 
is  measured  from  the  center  line  of 
the  viewing  area.  If  you  can  get  a 
brighter  screen  than  this,  all  the 
better:  but  the  1 '  -j-footlambert  level 
actually  represents  a  higher  light 
level  than  the  majorit)  of  drive-in 
theatres  are  getting.  The  all-import- 
ant question  is:  What  arc  current 
should  be  burned  in  order  to  achieve 
this  minimum  level  of  screen  illum- 
ination? 

Assuming  that  the  projection  len- 
ses are  optically  fast  and  antireflec- 
tion  coated,  and  that  no  obstructions 
are  present  in  the  optical  trains  of 
the  projectors,  the  required  arc  cur- 
rent depends  entirelv  upon  the  light 
reflecting  power  and  size  of  the 
screen,  provided  that  the  arc  lamps 
are    efficient. 


Now.  the  average  white  drive-in 
screen  several  years  old  has  a  reflec- 
tivity of  about  85'  c .  By  calculating 
the  lumens  of  light  needed  for  41/-? 
footlamberts  of  brightness  on  85%- 
reflectivity  screens  of  different 
widths,  and  equating  the  results  with 
the  luminous  outputs  obtained  with 
various  trims  of  carbons  burned  at 
suitable  currents  in  efficient  reflector 
arc  lamps,  we  arrive  at  the  informa- 
tion listed  in  Table  I.  These  data 
assume  a  50%  shutter  transmission 
and  hold  good  regardless  of  the 
aspect  ratio  of  the  35-mm  projection. 

International  Projectionist         March 


(Continued  from  Page  7) 

Nor  does  it  matter  whether  the  pro- 
jection is  regular  or  anamorphic — 
the  extra  light  passed  by  the  Cinema- 
Scope  aperture  is  wasted  by  the 
anamorphic  lens. 

Never  forget  that  high-intensitv 
arc-lamp  carbons  burn  most  efficient- 
lv  with  the  brightest,  whitest  light  at 
or  very  close  to  their  maximum  rated 
currents.  It  is  a  serious  mistake  to 
''underburn"  carbons  just  to  slow 
down  consumption  and  save  on  car- 
bon costs.  If  burned  well  below  their 
maximum  ratings,  carbons  give  an 
unpleasantly  dim.  \ellowish  light. 
For  quality  projection  in  drive-in 
theatres  you  need  snow-white  light 
of  at  least  1 '  ■_>  footlamberts  of 
brightness!  Of  course,  if  you  can  go 
beyond  this  minimum  level  and  come 
up  to  the  indoor-theatre  minimum 
level  of  10  footlamberts.  all  the  bet- 
ter, but  this  is  generalh  impossible 
in  the  larger  drive-ins. 

The  actual  "make-ready"  and 
''lining  up"  of  projection  and  sound 
equipment  which  has  lain  idle  all 
winter,  or  partially  dismantled,  is  a 
most  important  part  of  the  drive-in 
projectionist's  job.  These  procedures 
will  be  outlined  in  next  month's  IP 
article  with  a  particular  view  to  spar- 
ing the  projectionist  complicated 
knock-down  and  inspection  jobs  that 
seem  to  us  unnecessary  and  time- 
wasting.  It  shouldn't  be  necessary, 
for  example,  to  rebuild  the  intermit- 
tent units  or  to  inspect  hundreds  of 
in-car  speakers  every  day. 

First   Consideration 

The  very  first  matter  to  be  con- 
sidered when  a  drive-in  opens  for 
the  season,  however,  is  the  matter 
which  has  been  discussed  in  this 
article — adequate  picture  brightness. 
The  screen  surface,  the  projection 
lenses,  the  lamps,  mirrors,  and  heat- 
reducing  means,  and  the  correct  car- 
bon trims  and  currents  for  quality 
projection  are  the  things  which  must 
be  checked  at  the  outset.  The  owner 
of  the  drive-in  may  have  to  spend 
money  for  the  replacement  of  inade- 
quate ecjuipment.  but  he  really  has 
no  choice  if  his  object  is  to  stay  in 
business  and  make  a  profit.  The 
moviegoing  public  insists  upon  pro- 
fessional quality  in  the  exhibition  of 
motion  pictures,  and  will  no  longer 
tolerate  substandard  projection  in 
drive-in  theatres. 


i    m  ' 


*  MMCL 


To   Be  Concluded 


1964 


13 


a..-  •:;.  ■ 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING   DEVICES 

VALLEN,  Inc. 

AKRON  4,  OHIO 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture   Equipment   Division 
100    E.  42nd   St.,    New  York    17,   N.Y. 


Ford  Named  to  Tech 
Post  at  Union  Carbide 

NEW  YORK— Curry  E.  Ford  has 
been    named    General    Manager    of 
Technology  for  the  Carbon  Products 
Division  of  Union  Carbide  Corpora- 
tion.   In  his  new  position,  Mr.  Ford 
will  be  responsible  for  the  Technical 
Center  the   Divi- 
sion  is  to  estab- 
lish in  the  Cleve- 
land, Ohio,  area, 
and     will     direct 
the  research  and 
development  lab- 
oratories   operat- 
ed  by   the    Divi- 
sion. 

Mr.   Ford  was 
graduated     from  C.  E.  Ford 

Purdue  University  in  1933  with  a 
B.  S.  degree  in  engineering,  and  re- 
ceived his  M.S.  degree  from  Harvard 
in  1934.  He  joined  the  Carbon  Pro- 
ducts   Division    in    1937. 

In  1953,  he  was  named  manager  of 
chemical  product  sales,  and  was  ap- 
pointed new  products  marketing 
manager  in  1957.  In  1960,  he  was 
named  director  of  marketing;  since 
August  1961,  he  has  served  as  dir- 
ector of  development.  iP 


"I   don't  open   the 

lamphouse    door 

once  in  30  days" 


says  a  projectionist  operating 

PROJECTION 
ARCS 


■  ;.-■ ■  ■  ■■""::;'■: 


THE 


<f^««? 


It's  that  simple.  No  moving  parts  in 
the  light  source.  Focus  remains 
constant.  So  clean  the  projector 
lasts  much  longer. 

Projects  a  pure  white  light,  evenly 
distributed  over  the  entire  screen 
area.  Steady,  flickerless  regardless 
of  voltage  variations  in  power  sup- 
ply. "Push  button  repeatability"  of 
intensity  and  color  temperature. 

4  models  for  matte  screens  up  to 
35  feet  and  high  gain  screens  up 
to  43  feet. 

Maintenance  and  current  costs? 
The  same  as  for  carbon  and  current 
costs  for  a  carbon  arc  of  equivalent 
light  output. 


Send  for  literature. 
Demonstration  in  your  theatre  on  request. 

ELECTRIC    CORPORATION 


CITY   PARK   AVENUE 


TOLEDO,   OHIO   43601      •      PHONE:  (419)  248-3741 


14 


Upswing  in  Hollywood 
Producing  Is  Foretold 

SAN  FRANCISCO  —  Richard  F. 
Walsh,  International  President  of 
IATSE,  said  at  a  recent  meeting  of 
the  group's  executive  board  that 
1963  may  have  marked  a  turning 
point  in  the  current  decline  in  Holly- 
wood   movie-making. 

"Though  employment  in  no  way 
equals  that  of  the  immediate  post- 
WW  II  years,  it  has  improved  great- 
ly over  the  employment  record  of 
the  last  few  years."  he  said.  "If  the 
forecasts  are  to  be  believed,  1964 
will  be  an  improvement  over  the 
past   year." 

An  audit  of  the  IATSE  records  by 
the  trustees  for  the  first  half  of  last 
year  disclosed  assets  totalling  $1,- 
620,999.  Here's  the  breakdown:  gen- 
eral and  special  class  "B"  funds, 
$356,388;  securities,  $1,092,194; 
cash  on  hand,  loans  to  locals  and 
interest  receivable,  $15,386;  trans- 
portation and  per  diem  fund  (bien- 
nial convention),  $157,031.  IP 

Strong    Develops   Light 
Source  for  16  and  35  mm 

A  new  light  source  for  16mm  and 
35mm  motion  picture  projection  has 
been  announced  by  the  Strong  Elec- 
tric Corporation.  The  lamphouse, 
known  as  the  X-16,  utilizes  an  Osram 
Xenon  bulb  to  produce  a  uniform 
white  light  comparable  to  carbon  arc 
lighting.  Three  models  for  16mm 
projection  are  rated  at  450,  900  and 
1600  watts,  for  screens  up  to  24-feet 
wide. 

Three  models  for  35mm  projection 
are  rated  at  900,  1600  and  2500  watts 
for  screens  up  to  36-feet  wide.  This 
light  source  requires  practically  no 
attention  by  the  operator,  according 
to  the  company. 

There  are  no  moving  parts,  and  a 
dirt-free  environment  assures  longer 
projector  life.  Operating  costs  are 
about  the  same  as  for  those  of  car- 
bon arcs  projecting  an  equal  amount 
of  light.  A  descriptive  brochure  will 
be  sent  on  request  to  The  Strong 
Electric  Corporation,  31  City  Park 
Avenue,  Toledo,  Ohio,  43601.      iP 

Training  Executives 
Appointed  at  Kodak 

Robert  C.  McClelland  has  been 
appointed  director  of  training  for 
Eastman  Kodak  Company,  accord- 
ing to  Monroe  V.  Dill,  director  of 
industrial  relations. 

Frederick  E.  Viken  succeeds  Mc- 
Clelland as  manager  of  technical 
training.  Ervin  L.  Perkins  moves  up 
to  Viken 's  previous  post  as  manager 
of  training  services.  iP 

International  Projectionist        March,  1964 


ifff&S- 


basic 
mathematics 

by  NORM  AH  H    CROWHURST 


• 


kLH 


VOLUMES 
1  through  4 
COMPLETE 

ROM  (OUNTHft 

TttOUW  CAUUlft 

I  MOMIN 

UMFKD  APftOACM 

TO  WmUUTKS 

AND  ITS  USES 


J  MM 


PRACTIC 
METHOD 


J] 


LEARMfNG 


_ 


j 


A  RIDER 


-!»■ 


BASIC   MATHEMATICS 

t>i/  Norman  H.  Croivhurst 

4-volume  'pictured-text'  course  makes  it  easier  than 
ever  before  possible  to  learn  all  the  math  you'll  need 
to  know  to  speed  your  progress  in  electronics— no 
short  cuts— no  gimmicks. 

This  remarkable  4-volume  course  takes  you  in  easy 
stages  from  counting  through  algebra,  geometry, 
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aheal  in  electronics  —  regardless  of  your  previous 
eJucation!  It  employs  an  exciting  new  technique 
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LEARNING  TO  COUNT  —  You  gain  the  self-confidence 
you  nee l  to  master  mathematics!  You  build  a  solid 
foundation  in  mathematics  without  realizing  that 
you  are  being  introduced  to  subjects  usually  con- 
sidered dry  and  difficult  to  master.  #268-1,  $3.90 
Volume  II  —  INTRODUCING  ALGEBRA,  GEOMETRY, 
TRIGONOMETRY  AS  WAYS  OF  THINKING  IN  MATHE- 
MATICS —  Building  on  the  solid  foundation  laid  in 
Vol  I.,  you  learn  to  apply  algebra,  geometry  and 
trigonometry  as  better  methods  of  solving  a  problem 
when  the  arithmetic  begins  to  get  involved.  #268-2, 
S3. 90 

Volume  III  —  DEVELOPING  ALGEBRA,  GEOMETRY, 
TRIGONOMETRY,  CALCULUS  AS  WORKING  METHODS  IN 
MATHEMATICS  —  This  volume  continues  the  search 
for  new  and  better  methods  of  calculating,  an-l  adds 
calculus  to  the  group  of  'tools'  already  introduced. 
-268-3,  S3.90 

Volume  IV  —  DEVELOPING  ALGEBRA,  GEOMETRY, 
TRIGONOMETRY,   CALCULUS   AS  ANALYTICAL  METHODS 

IN  MATHEMATICS  —  Once  you've  reached  volume  IV, 


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earlier  volumes.  You'll  be  able  to  find  the  right 
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for  a  career  in  which  mathematics  play  a  most 
important  part.    #268-4.    $3.90 

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Name 
Address 
City  


Zone 


State 


A  Scene  From  America's  Projector  Carbon  Center... 


Equipment  for  coating  carbons  with  copper 


Coating  projector  carbons  with  the  right  amount 
of  copper  is  a  top-billing  production  step" 


Sid  Morley 


This  equipment  performs  the 
important  task  of  coating  pro- 
jector carbons  with  copper— not 
for  eye  appeal,  but  for  the  vital 
purpose  of  assuring  more  de- 
pendable screen  lighting.  The 
coating  helps  conduct  current  from  the  jaws  of 
the  lamp  to  the  arc.  For  maximum  light  effi- 
ciency the  copper  coating  must  be  of  precision 
thickness— no  more  — no  less! 

From  the  coating  operation  at  "America's 
Projector  Carbon  Center"  in  Fostoria,  Ohio, 
National  carbons  move  to  an  automatic  resist- 
ance test,  where  a  direct  reading  instrument 


-says  SID  MORLEY 

"National"  Sales  Engineer 

measures  in  ohms-per-inch  the  coating  on  each 
carbon.  If  the  coating  is  too  thin  or  too  thick, 
the  unwanted  carbon  is  ejected  from  the  line. 

How  is  this  rigid  test  related  to  good  lighting? 
First,  if  the  coating  is  too  thin,  the  carbon  might 
spindle  back  to  the  holder,  resulting  in  freezing 
and  a  possible  lamp  shutdown.  Secondly,  if  too 
thick,  it  might  produce  copper  dripping  and 
cause  the  arc  to  wander. 

In  coating  and  all  other  manufacturing  steps, 
National  carbons  are  produced  by  today's  most 
reliable  quality  control  methods.  We  want  to 
be  sure  your  patrons  get  the  finest  screen  light- 
ing that  projector  carbon  money  can  buy ! 


UNION 
CARBIDE 


National"  is  a  registered  trade-mark  of 


UNION  CARBIDE  CORPORATION 

CARBON  PRODUCTS  DIVISION 

270  Park  Ave.,  N.  Y.,  N.  Y.  10017  •  In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


4i    -    i 


'    ■ 

^^Mr* 

~^ 

qf 

1    *»• li   ™      ^ 

1 

•.'a* 

'^••,t^  ' 

II     £ 

m 

U^1 

Shown  with  the  new  Futura  II  projection 
lamps  recently  installed  in  the  Studio 
Theatre  at  Paramount  Pictures  Corporation 
West  Coast  Studios  is  Edward  V.  Maule, 
Supervisor  of  Projection.  Where  screen 
lighting  requirements  are  much  more  exact- 
ing than  those  of  the  average  theatre,  such 
I  as  in  studio  theatres,  the  new  Strong  Futura 
projection  arc  lamps  are  meeting  with  wide 
acceptance.  Steadiness  of  arc,  a  highly  uni- 
form field,  and  the  absence  of  color  rota- 
tion are  requirements  essential  to  determin- 
ing release  print  quality. 


seaaSuoo  jo  Araxqxi 


APRIL 

VOLUME  39 
40c  A  COPY 


1964 

NUMBER  4 

$3.00  A  YEAR 


A  Scene  From  America's  Projector  Carbon  Center... 


Equipment  for  coating  carbons  with  copper 


it. 


Coating  projector  carbons  with  the  right  amount 
of  copper  is  a  top-billing  production  step" 


O 


Sid  Morley 


This  equipment  performs  the 
important  task  of  coating  pro- 
jector carbons  with  copper— not 
for  eye  appeal,  but  for  the  vital 
purpose  of  assuring  more  de- 
pendable screen  lighting.  The 
coating  helps  conduct  current  from  the  jaws  of 
the  lamp  to  the  arc.  For  maximum  light  effi- 
ciency the  copper  coating  must  be  of  precision 
thickness— no  more— no  less! 

From  the  coating  operation  at  "America's 
Projector  Carbon  Center"  in  Fostoria,  Ohio, 
National  carbons  move  to  an  automatic  resist- 
ance test,  where  a  direct  reading  instrument 


-says  SID  MORLEY 

"National"  Sales  Engineer 

measures  in  ohms-per-inch  the  coating  on  each 
carbon.  If  the  coating  is  too  thin  or  too  thick, 
the  unwanted  carbon  is  ejected  from  the  fine. 

How  is  this  rigid  test  related  to  good  fighting? 
First,  if  the  coating  is  too  thin,  the  carbon  might 
spindle  back  to  the  holder,  resulting  in  freezing 
and  a  possible  lamp  shutdown.  Secondly,  if  too 
thick,  it  might  produce  copper  dripping  and 
cause  the  arc  to  wander. 

In  coating  and  all  other  manufacturing  steps, 
National  carbons  are  produced  by  today's  most 
reliable  quality  control  methods.  We  want  to 
be  sure  your  patrons  get  the  finest  screen  fight- 
ing that  projector  carbon  money  can  buy! 


UNION 
CARBIDE 


National"  is  a  registered  trade-mark  of 


UNION  CARBIDE  CORPORATION 

CARBON  PRODUCTS  DIVISION 

270  Park  Ave.,  N.  Y.,  N.  Y.  10017  •  In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


BFPOWR  RECTIFIER 
SAVES  EVEN  MORE 
THAN  PROMISED 


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pointed  out  that  we  would  save  about 
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month  since  we  have  changed  over 
from  our  generator.  It  is  good  to 
know  that  we  can  depend  upon  you 
and  your  dealer  organization." 

— D.  M.  Pearce 

Aicaratc  Drive-In  Theatre, 
tl  Pato,  Texas 


DESIGNED 

FOR  THE  OPERATION 

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transformer-rectifier,  is  the  most 
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No  flicker  or  other  change  in  pro- 
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arc. 


DEPENDABLE 


"Lo-Slrike*" 
feature  associated 
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protects  the  silicon 
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bon crater  upon 
striking  the  arc. 


SAVES 
ON  INITIAL  COST! 

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priced  90-135  ampere  rectifiers,  and  costs 
less  to  install.  Requires  only  one  line  service. 

SAVES  ON  SPACE 

Requires  one-third  to  one-half  less  floor 
space  than  two  separate  rectifiers  spaced 
for  proper  ventilation. 


DUAL  OUTPUT   RATING  OF 

60-85/  60-85  AMPS/  35-45  V 

75-105/  75-105  AMPS/  48-61  V  j 
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SEND  FOR  LITERATURE 

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INTERNATIONAL 

PROJECTIONIST 


April    1964 


Volume    39 


No.    4 


FRANK   W.    COOLEY,    JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive    Publisher 

AL    BLOOM 
Managing    Editor 

TOM    KENNEDY 
Equipment    Editor 


RAY   GALLO   ASSOCIATES 

National    Advertising    Representatives 

545   Fifth  Avenue,    New   York    17,   N.   Y. 

Telephone    Murroyhill    7-7746 

(Area   Code    212 


In  This   Issue 

Projection  Make-ready 

for    Drive-ins 

by  Robert  A.  Mitchell 
Jack  Winick  —  Still  on 

the  Job 

Fair  Features  "Voyage  to 

the  Moon" 
Skouras  Remodels  Great 

Neck  Playhouse 
Wonderama  Reviewed 
39th  Street  East  Opens 
Theatre-within-a  theatre 


7 

8 

9 

10 

12 


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35  and  70mm 


■^■us 


International  Projectionist 


April  1964 


Volume  39 


April,  1964 


Number  4 


Projection 


AAAKE-READY  FOR  DRIVE-INS 


By  ROBERTA.  MITCHELL 


PART  II 


Adequate  screen  light  is  the  primary  concern  of 
the  drive-in  projectionist.  This  important  problem  was 
discussed  in  last  month's  article.  Beyond  this,  and  except 
for  the  fact  that  the  sound  is  reproduced  through 
hundreds  of  individual  in-car  speakers,  a  drive-in  projec- 
tion setup  is  very  similar  to  the  booth  installation  in 
almost  any  large  indoor  theatre.  Accordingly,  routine 
cleaning,  lubrication,  and  adjustment  procedures  follow 
the  same  pattern  as  in  any  projection  room. 

Nevertheless,  the  preparation  of  the  projection  and 
sound  equipment  for  the  opening  show  after  months  of 
storage  inundates  the  drive-in  projectionist  with  an  im- 
mense amount  of  work  to  be  accomplished  in  a  very  shoit 
time.  The  numerous  make-ready  details  press  for  atten- 
tion just  as  soon  as  the  equipment  has  been  reinstalled 
or  the  wraps  removed  after  the  winter's  hibernation. 
Everything  must  be  checked,  cleaned,  oiled,  adjusted, 
and  lined  up  for  top-quality  performance. 

Much  confusion  can  be  avoided  and  valuable  time 
saved  by  tackling  the  make-ready  job  in  an  orderly, 
systematic  manner.  Assuming  that  the  rewinders,  splicing 
blocks,  film  bins,  parts  cabinets,  music  phonographs,  and 
ventilating  equipment  are  ready  for  use  (important 
details),  the  overall  job  can  be  broken  down  into  four 
divisions:  (A)  Cleaning  and  Electrical  Checking,  (B) 
Lubrication,  (C)  Adjustments,  and  (D)  Optical  Lineup 
and  Sound  Check. 

The  following  systematic  tabulation  of  the  work  to  be 


done  may  seem  rather  overwhelming  just  to  read  it 
through,  but  keep  in  mind  that  many  items  need  only  to 
be  inspected  and  require  no  outlay  of  time.  The  pro- 
jectionist can  therefore  literally  sail  through  large 
sections  of  the  work  list,  but  its  inclusiveness  insures 
that  nothing  of  importance  will  be  overlooked.  His 
checkout  should  follow  the  general  headings  of: 

A.  Cleaning  and  electrical  checking;  B.  Lubrication; 
C.  Adjustments  and  D.  Optical  line-up  and  speaker  check. 
Following  are  guidelines  for  each  of  these  major  areas. 

A.  CLEANING  AND  ELECTRICAL 
CHECKING 

Preliminary:  Check  all  fuse  boxes  to  make  sure  that 
the  fuses  are  secure  and  unblown,  and  that  spares  are 
close  at  hand. 

1.  ARC  LAMPS 

(a)  Vent  pipes.  Remove  deposits  of  carbon  core  ash 
from  the  interiors  of  the  vent  pipes,  dampers,  and  fans. 
Guard  against  allowing  this  dirt  to  fall  down  into  the 
lamphouses. 

(b)  Lamphouses.  Brush  out  all  ash  and  dust  from 
the  interiors  of  the  lamps.  Wipe  the  carbon  holders  with 
a  dry  cloth.  Never  file  or  sandpaper  them!  Clean  all 
shafts  and  bearings,  and  remove  grime  from  carbon- 
feeding  gears.  If  the  lamps  are  of  the  modern  rotating- 
positive    type    (Strong),    and   the    manual    carbon    feed 


International  Projectionist 


April,  1964 


cranks  hard,  remove  the  drive-roller  unit  and  spin  the 
rollers  immersed  in  a  can  of  kerosene.  This  will  remove 
caked  lubricant.  Relubricate  as  suggested  under  B2. 
Check  and  tighten,  if  necessary,  all  electrical  connections 
to  the  lamp  table  switch,  lamphouse  terminal  board, 
carbon  holders,  control  relays,  and  feed  motors. 

2.  RECTIFIERS  AND  GENERATORS 
Remove  dust  from  the  interiors  of  the  rectifier 
cabinets,  and  see  that  the  cooling  fans  and  automatic 
switches  function  properly.  Wipe  rectifier  bulbs  and 
check  connections  for  tightness.  See  "hat  the  main 
switch  and  relays  are  functioning  well  and  that  the  current 
selector  switch  and  all  connections  are  clean  and  tight. 
Turn  generator  over  by  hand  to  note  feel  of  the  machine. 
Blow  all  dust  from  the  interior  with  a  hand  bellows 
carefulK  wipe  commutator  with  a  clean,  dry  cloth.  applv 
a  thin  film  of  vaseline  to  the  commutator  and  wipe  off 
excess  to  lease  onlv  a  trace.  I  The  color  of  the  copper 
commutator  bars  should  be  a  darkish  brown,  not  bright 
copper  color!  i  If  brushes  are  worn,  replace  them  and 
"run  in"  the  new  ones  for  an  hour  after  the  generator 
has  been  lubricated   (  Bl  I . 

Check  and  tighten  electrical  connections  at  generator 
terminals  and  ballast  rheostats. 

3.  PROJECTOR  MECHANISMS 
Remove  am  rust-preventative  grease  that  ma)  have 
been  applied  to  exposed  metal  parts.  Drain  old  oil  from 
gear  side,  soak  up  oil  from  floors  of  old-style  mechan- 
isms, and  remove  mime  from  gears  and  shaft.-  of  old- 
-t \  If*  heads  b\  scrubbing  with  a  stiff-bristled  toothbrush 
moistened  with  kerosene.  Drain  oil  from  intermittent 
movement  and  flush  out  the  oilwell  with  clean  projector 
oil.  not  kerosene.  No  attempt  should  be  made  to  remove 
lubricating  grease  from  Motiograph  A  Vs.  however. 

Blow  out  dust  from  heat  shields  and  baffles  after 
removing  sight  box  for  easier  access.  If  this  is  done, 
i  heck  framing  lamp  and  replace  bulb  if  blackened.  \\  ipe 
the  film  gate  and  rails  of  each  mechanism,  also  the 
gate-door  tension  pads,  using  a  clean,  lintless  cloth 
lightlv  moistened  with  cigarette-lighter  fluid.  Remove 
all  dirt  which  mav  be  lodged  underneath  the  tension 
pads!  Clean  all  aperture  plates.  Gently  remove  din 
from  the  flanged  guide  rollers  and  coil  spring  bv  means 
of  a  camels-hair  watercolor  brush.  Be  sure  to  get  out  all 
the  dirt  lodged  in  the  film  strippers,  swinging  the 
strippers  out.  if  necessary,  then  replacing  in  their  original 
position   after  cleaning. 

Scrub  all  sprocket  teeth  and  idler  rollers  with  a  tooth- 
brush lightlv  moistened  with  kerosene  —  but  use  a 
clean  toothbrush,  not  the  one  prev  iouslv  used  for  cleaning 
the  gear  teeth ! 

I.  SOUNDHEADS 
CarefulK  clean  the  sound  gates  of  old-style  optical 
soundheads,  or  the  sound  scanning  drums  and  pressure 
rollers  of  newer  models,  using  a  clean,  lint-free  cloth 
very  lightly  moistened  with  lighter  fluid.  Remove  dirt 
from  the  film  strippers  and  clean  the  sprocket  teeth  with 
a  kerosene-moistened  toothbrush.  I  Guard  against  spatter- 
ing the  sound  optical  lenses.  I  Clean  magnetic  sound- 
heads in  the  same  way.  and  remove  deposits  of  film  wax 
and  dirt  from  the  magnetic-cluster  surfaces.  An  orange- 
wood  fingernail  stick  may  be  needed. 

5.  MAGAZINE  VALVE  ROLLERS 
With  the  scissors  cut  along  a  length  of  film  midwav 
through  the  perforations  so  as  to  obtain  a  rough,  saw- 
tooth  edge.     Draw   this   back   and   forth    through    upper 
and    lower    valve-roller    boxes    to    catch    and    draw    out 


In  Memoriam 


R.   A.    Mitchell 


It  was  with  great  sadness  and  a 
sense  of  personal  loss  that  the 
staff  of  the  International  Projec- 
tionist received  the  word  of  the 
death  March  28  of  Robert  Allen 
Mitchell,  the  author  of  so  many 
technical  articles  we  have  printed. 
He  will  be  missed  for  his  per- 
sonal warmth  and  great  char- 
acter, as  well  as  for  his  contri- 
butions to  projection  tech- 
nology. He  was  an  acknowl- 
edged authority  in  this  field, 
and  we  feel  privileged  to  have 
worked     with     him. 


stubborn    deposits   of    film    dirt.     Finish   the  job   with    a 
clean    cloth. 

6.  OPTICAL  COMPONENTS 

l  a  I  Lamp  mirrors.  Wipe  silver-coated  mirrors  clean 
with  a  drv  cloth.  Use  a  razor  blade  to  scrape  off  copper 
-|ila-he>.  If  necessarv  to  use  soap  and  water,  moisten 
the  cloth  lightlv  to  avoid  wetting  the  back  of  the  mirror, 
then  rinse  with  clean  water  and  wipe  dry  with  another 
(loth.  It  may  be  convenient  to  remove  the  reflectors 
from  the  lamps:  if  so.  do  not  tighten  them  excessively 
when  replacing.  Badly  tarnished  or  partly  cracked 
mirrors  should  be  replaced  with  new  ones  without  delay! 

Clean  front-surface  "cold"  mirrors  by  first  wiping 
dust  awav  with  a  soft,  dry  cloth,  then  removing  stains 
and  fingerprints  with  a  soft  cloth  moistened  with  lens- 
cleaning  fluid,  and  finally  wiping  the  mirror  with  lens 
tissue.  Silver  mirrors  may  be  lightly  scoured  with  steel 
wool  to  remove  stubborn  deposits  of  scum,  but,  abrasives 
should  never  be  used  on  "cold"  mirrors!  Scouring  soap 
is  helpful  for  cleaning  badly  scummed  silver  mirrors,  but 
avoid  any  containing  chlorine  bleach,  which  may  turn  the 
silver  coating  milky-white  if  the  fumes  work  through  the 
mirror  backing!  All  chlorine-releasing  compounds 
I  hypochlorites  I  as  well  as  sulfides  and  cyanides  ( in  some 
silver  polishes)  should  be  kept  far  away  from  silvered 
arc-lamp  mirrors! 

I  b  I  Heat  filters.  Remove  dust  by  wiping  with  a  dry 
cloth,  then  clean  with  lens-cleaning  fluid  and  lens  tissue. 
As  with  front-surface  "cold"  mirrors,  do  not  scour  or 
scrub  —  it  may  scratch  the  delicate  interference  coatings, 
(c)  Port  glasses.  Avoid  the  use  of  projector  port 
glasses  if  possible,  but  if  they  are  absolutely  necessary, 
treat  them  very  carefully  because  an  image-forming  light 
beam  must  pass  through  them.  First  dust  off.  then  wash 
with  a  weak  solution  of  Ivory  soap.  Rinse  with  pure 
water  and  dry  with  a  soft  cotton  cloth  or  lens  tissue. 

(Please  turn  to  page  12) 


International  Proj  ectiomst 


April,  1964 


Projectionist  for  57  Years, 
Jack  Winick  Keeps  Working 


Jacob  S.  Winick  wears  two  hats, 
and  on  him  they  look  good.  Jack,  as 
his  friends  know  him,  has  57  years 
behind  him  as  a  projectionist.  Winick 
is  also  a  great  organization  man.  as 
we'll  see  later  in  this  profile. 

He  is  proud  to  be  a  native  New 
Yorker,  and  fondly  reminisces  about 
his  education  in  the  New  York  City 
public  schools. 

Jack  was  born  on  the  City's  East 
Side.  His  first  job,  in  1905,  was  as 
printer's  devil;  but  a  year  later  he 
became  assistant  to  Charles  Burton  at 
the  Vitagraph  "studio"  on  Nassau 
Street.  There  they  filmed  silent 
movies  under  the  sunlight  with  such 
stars  as  Flora  Finch,  John  Bunny  and 
Maurice  Costello.  In  this  first-hand 
environment  Jack  learned  to  be  a  pro- 
jectionist. 

He  was  an  apt  pupil,  because  one 
year  later  he  installed  projectors  at 
a  N.  Y.  hotel  and  at  Luna  Park  in 
Coney  Island,  for  the  picture  called 
"The  Bull  Fight." 

When  Jack  Winick  recalls  his  past, 
he  calls  up  great  names  connected 
with  the  motion  picture  industry: 
pioneers  like  Adolph  Zukr,  D.  W. 
Griffith  and  early  screen  actors,  in- 
cluding Henry  Walthall  and  Lillian 
Gish. 


Carriage   Trade   Came 

In  1912,  when  Zuker  was  prepar- 
ing to  launch  "Queen  Elizabeth" 
starring  Sarah  Bernhardt,  Jack  Win- 
ick projected  that  film  in  New  York 
theatres.  Incidentally,  "Queen  Eliza- 
beth" was  sold  to  exhibitors  for  $50 
a  day,  an  unheard  of  price  in  those 
times.  It  demanded  prices  above  the 
regular  admission  to  movie  houses, 
and  started  the  carriage  trade's 
movie-going.  The  Lyceum  Theatre, 
the  first  legitimate  house  used  to  ex- 
hibit movies,  was  used  for  the  trade 
and  press  preview  on  July  12,  1912. 

Winick  was  projectionist  for  the 
first  $2  movie  in  New  York.  He  was 
in  the  projection  booth  for  the  Italian 
super-spectacle  titled  "Cabiria." 

In  1915,  Jack  went  with  the  D.  W. 
Griffith  Company  as  projectionist 
for  "The  Birth  of  a  Nation,"  the 
start  of  road  shows.  He  was  with 
the  Griffith  company  for  their  other 
legendary  road  shows:  "Intolerance," 


"Orphans  of  the  Storm"  and  "Way 
Down  East."  Griffith  was  the  first 
producer  who  had  sound  effects  for 
movies.  Back  stage  drums  and  other 
sound  devices  were  cued  to  make  the 
pictures  more  realistic. 

In  1926,  Winick  was  associated 
with  Western  Electric  as  an  installa- 
tion man;  a  year  later  he  made  the 
installation  in  the  Winter  Garden  for 
the  Al  Jolson  picture,  "The  Jazz  Sing- 
er." It  was  the  first  time  an  actor 
had  delivered  a  spoken  dialogue  from 
the  screen.  A  couple  of  years  be 
fore  that,  "Don  Juan,"  starring  John 
Barrymore,  played  an  engagement  at 
the  Warner  Theatre  on  Broadway. 
"Don  Juan"  was  the  first  film  to  have 
recorded  on  discs  the  background 
music  for  the  feature.  On  the  same 
program  were  Warner  Bros,  sound 
shorts. 

Active   Clubber 

Threaded  through  Jack's  57  years 
as  a  projectionist  is  much  hard  work 
as  an  organizer  and  active  member 
of  union,  civic,  fraternal  and  social 
clubs.  He  signed  the  Charter  for  Lo- 
cal 306,  and  was  a  business  agent  in 
its  early  days. 

Jack  has  an  imposing  record  of 
past  presidencies  of  civic,  fraternal 
and  social  clubs.  Among  them  are  the 
Projectionists  Square  Club  (Ma- 
sonic), the  Theatrical  Square  Club, 
National  Masonic  Club  and  the  25-30 
Club.  He  is  Past  District  Deputy 
Grand  Master  of  12th  Odd  Fellows. 
He  was  an  officer  of  the  New  York 
Association  of  Motion  Picture  Pro- 
jectionists and  the  Central  Trades 
Labor  Council.  In  recognition  of 
Jack's  activities  in  the  Projectionists' 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING    DEVICES 

VALLEN,  Inc. 

AKRON  4,  OHIO 


Square  Club,  the  organization  has 
awarded  him  a  life  membership,  and 
he  was  presented  with  its  "Gold 
Card"  in   1962. 

Jack  hasn't  the  time  to  sit  back 
and  meditate  on  the  enviable  profes- 
sional recognition  he  enjoys;  he's  on 
the  job  as  projectionist  at  the  Grand 
Central  newsreel  theater.  IP 

Klapholz  New  Prexy 
For  25-30  Group 

NEW  YORK— Morris  I.  Klapholz 
was  named  president  of  the  Twenty- 
Five-Thirty  Club  at  its  recent  election 
meeting. 

Others  elected  to  office  were: 
Robert  Sanders,  vice  president;  Mor- 
ris J.  Rotker,  recording  and  corres- 
ponding secretary;  Jacob  Krimon, 
financial  secretary  and  treasurer; 
Nathan  Stauss,  sergeant-at-arms. 
Other  offices  filled  were:  three  year 
trustee,  Tony  Rugino;  two  year 
trustee,  Harry  Bergoffen.  iP 

Lindemeyer  Gets  Tech 
Post  at  Metro-Kalvar 

NEW  YORK  —  Robert  B.  Linde- 
meyer, a  former  armed  services  tele 
vision  and  photographic  officer,  has 
been  named  director  of  Technical  Ser- 
vices for  Metro-Kalvar,  Inc. 

The  announcement  was  made  by 
Metro-Kalvar  Vice  President  Noel  R 
Bacon.  A  1958  graduate  of  Iowa  State 
University,  Lindemeyer  served  in  the 
U.  S.  Navy,  where  he  was  assigned 
to  the  Naval  Photographic  Center  in 
Washington,  D.  C. 

He  later  became  Television  Produc- 
tion Director  at  the  Air  Force  Sys- 
tem Command,  also  in  Washing- 
ton. iP 

Hornstein  Equips 

Two  New  York  Theatres 

New  York — The  Festival  Theatre 
and  the  Trans-Lux  East  Theatre 
were  equipped  by  Joe  Hornstein, 
Inc. 

The  Festival  Theatre  at  57th  St. 
has  Century  projectors  and  Century 
transistorized  sound  equipment; 
Magnarc  lamphouses  and  silicon 
rectifiers;  Bausch  &  Lomb  lenses; 
Neumade  and  Goldberg  film  han- 
dling equipment,  and  a  Tecknikote 
XR-171  Pearlescent  screen. 

Retractable  chairs,  Wilton  carpet 
and  special  stage  draperies  and  spe- 
cial aluminum  frames  were  supplied 
by  George  Hornstein. 

The  Trans-Lux  East,  on  58th  St. 
has  Century  projectors  and  Century 
transistorized  sound  equipment; 
Magnarc  lamphouses  and  silicon 
rectifiers;  B&L  lenses,  Neumade  and 
Goldberg  film  handling  and  a  Tech- 


nikote  Pearlescent  screen. 


International  Projectionist 


iP 

April,  1964 


Amity  Granted 
Century  Foreign 
Distributorship 

\mit\  International  Distributors. 
Inc..  Amityville.  L.  I..  N.  Y..  has 
been  appointed  a  non-exclusive  for- 
eign  distributor  |  except  Canada  I  for 
the  Centurv  Projector  Corporation, 
it  was  announced  recently  In  Vdolf 
R.  Schwartz,  President  of  Amity. 
Schwartz,     Manager     of     Branch 

Operations  for  Westrex  International 
until  his  retirement  last  August. 
will  travel  extensively  to  strengthen 
and  enlarge  the  \.I.D.  network  of 
overseas  dealers.  Schwartz  lived  for 
several  years  in  Australia,  India  and 
Trinidad  as  manager  of  the  Westrex 
branches  in  those  countries,  selling 
and  servicing  Centurv  projectors  and 
sound  systems. 

Facilities  available 

Vice  President  of  \.I.D.  is  Charles 
Friedman.  Friedman  operates  Pyra- 
mid Power  Products,  Inc.  at  the 
Amityville  address,  manufacturing 
engine-driven  power  plants  which  are 
frequentl)  used  in  theatres  abroad  as 
standhj    power  sources  during   main 

line    power    failure-.     I  lie    plant.    >tm- 

. tml  export  packing  facilities  "i 
Pyramid  are  available  to  VI. I),  for 
the  export  operation. 

Schwartz,  who  was  associated  with 
Westrex  and  it-  predecessor,  ERPI, 
for  thirty-five  years,  says  the  over 
Seas       market       for        \inei  iean-made 

equipment  has  displayed  a  health) 
resurgence  due  Larger]  to  the  marked 
expansion  in  70mm  and  drive-in 
theatre  presentation. 

Money  available 

"Exhibitors  abroad  demand  high 
quality  equipment,"  be  savs:  "maxi- 
mum reliability  in  equipment  per- 
formance is  essential  to  bold  break- 
downs and  servicing  to  a  minimum 
and  Century  projectors  and  transis- 
torized sound  systems  are  the  answer 
Importers  and  local  dealers  can  now 
get  more  dollar  exchange  to  assur« 
this  protection.  Dollar  scarcity  in 
most  countries  is  history  now.  The 
awakening  of  Africa  and  the  develop- 
i  ment  of  Asia,  for  example,  supported 
b)  L.  S.  aid.  are  gratifying  and 
healthy  signs.  Latin  America  also 
continues  to  be  an  excellent  market 
for  the  importation  of  U.  S.  theatre 
equipment."  "Inflationary  rises  in 
European  production  costs  are  a  con- 
tributing factor."  Schwartz  says.  iP 

I  NTERNATIONAL    PROJECTIONIST 


Cinerama  Voyage  to  Moon' 
Set  for  N.  Y.  World's  Fair 


A  voyage  to  the  moon  via  the  revolutionary  "Spacearium"  film  process  will 
take  place  within  the  "moon  dome"  of  the  Transportation  &  Travel  Pavilion  at 
the  New  York  World's  Fair.  Announcement  of  the  space  show  was  made  jointly 
by  Fair  president  Robert  Moses  and  Nicolas  Reisini,  president  of  Cinerama,  Inc., 
at  ceremonies  marking  the  start  of  steel  construction  for  the  pavilion,  last  of 
the  major  exhibition  buildings  to  rise  at  the  Fair. 


NEW  YORK  \  "voyage  to  the 
Moon"  via  a  revulutioiiarv  new  Cine- 
rama motion  picture  process  never 
before  seen  here,  will  be  offered  t>> 
\  i—it<>t  —  to  the  L96 1-65  New  ^  ork 
World's  Fair  at  the  Transportation 
and  Travel  Pavilion,  ii  was  announc- 
ed recently   l>\   Fair  President  Robert 

Moses  and    Nicolas   Reisini.   President 

of  Cinerama,   Inc. 

I  he  announcement  was  made  at 
ceremonies  marking  the  start  of  steel 
construction    for   the   Transportation 

and  Travel  Pavilion,  last  of  the  ma- 
jor exhibition  buildings  to  rise  at 
the  Fair.  The  film  exhibition  will  be 
shown  within  a  96-foot-high  "moon 
dome"  that  forms  the  northern  end 
of  the  pavilion. 

Called  Cinerama-Spacearium-360, 
the  unique  film  process  that  will 
simulate  the  moon  voyage  was  de- 
veloped by  Cinerama.  The  Federal 
Pavilion  at  the  Seattle  World's  Fair 
featured  a  film  entitled  "Journey  Into 
Space".  It  attracted  more  than  six 
million  viewers.  The  process  provides 
for  a  film  to  be  projected  from  be- 
low into  a  huge  domed  screen  th?.l 
completely  surrounds  the  audience — 
on  all  sides  and  above.  The  18-minute 
film  depicting  the  moon  voyage  will 
utilize  all  information  on  space 
flight  and  lunar  science  presently 
available,  according  to  Reisini. 

The  "Spacearium"  project  in- 
volves: the  world's  largest  projection 
screen:   the  world's  largest  and  wid- 

April,  1964 


est-angle  projection  lens:  an  out- 
standing undertaking  in  animation 
and  stop-motion  photography,  and  a 
realistic  trip  into  space. 

The  film  utilizes  a  new  lv-designed 
Cinerama  lens  to  achieve  its  startling 
effect.  The  lens  projects  the  film  360 
degrees  horizontal  I  \  and  180  degrees 
vertically.  Thus,  the  viewer  is  actual- 
l\  enveloped  in  the  picture,  which  is 
above  and  on  all  sides  of  him. 

Scientists  who  have  acted  as  advis- 
ors to  Cinerama  in  the  preparation  of 
the  system  say  that  the  entire  projec- 
tion concept  is  a  highly  sophisticated 
stej)  far  beyond  the  planetarium. 

Cinerama  will  assume  full  opera- 
tion of  the  theatre  at  the  Fair.  In 
operation,  the  domed  screen  will  be 
tilted  forward  at  a  slight  incline,  in 
keeping  with  the  pitch  of  the  audi- 
torium. Viewers  will  stand  behind 
tiered  rails  which  make  up  the  the- 
atre. The  slight  forward  incline  is 
for  theatrical  visibility  and  to  help 
focus  attention  on  the  central  point 
of  the  show,  which  will  be  approxi- 
mately 10  degrees  above  the  horizon 
in  the  center  of  the  screen.  Although 
action  will  take  place  all  over  the 
domed  screen,  a  central  focal  point 
is  necessary  for  continuity. 

Because  of  the  size  of  the  screen, 
Cinerama  technicians  feel  they  need 
the  greatest  possible  film  area  from 
which  to  project  the  show.  The  actual 
prints  will  be  loaded  into  continuous 
magazines  for  projection  on  the  spe- 
cial equipment.  iP 


Skouras  Playhouse 
Undergoes  Extensive 
^00,000  Remodeling 


GREAT  NECK,  N.  Y.  —  The  Skouras  Playhouse 
Theatre  in  this  Long  Island  community  has  been  under- 
going a  major  remodeling  at  a  cost  of  $100,000,  exclu- 
sive   of    equipment. 

The  brick  structure  was  decorated,  lobbies  enlarged 
and  new  furnishings  installed  during  three  weeks  when 
the   theatre   was    closed. 

The  booth  is  now  equipped  with  Super  Simplex  pro- 
jectors, Peerless  Magnarc  arc  lamps,  Knisley  rectifiers, 
Simplex  rewinders  and  Neumade  film  cabinets.  The 
sound  system  is  an  Ampex  Super  30  watt,  3  channel 
magnetic  -  optical  with  special  modifications  by  the 
Skouras  Theatres'  sound  department.  The  screen  is  a 
Pearlescent.  by  the  Technikote  Corporation.  Mrs.  Neva 
Hassanein  was  the  decorator,  and  Novelty  Scenic  Studios 
installed  the  drapes. 

The  Playhouse  Theatre  has  a  seating  capacity  of  1,000 
with  American  Seating  Company  chairs.  The  seats  are 
upholstered  with  red  nylon.  Auditorium  walls  are 
covered  with  two-inch  acoustical  fiberglass.  The  lobby 
and  foyer  has  an  acoustical  hung  ceiling,  with  vinyl  on 
the  walls. 

The  Skouras  Theatres  chain  operates  the  Playhouse 
Theatre  for  the  Metropolitan  Playhouses,  Inc.  It  is 
located  in  the  main  business  area,  and  operates  on  a 
single  feature,  first  run  policy.  iP 


;      j      1      I      I     I      t 

1   i f    I    I    I  J    L  k 
'    J     t    t 


Auditorium  seating  arrangement 


Super   Simplexes   in    remodeled   booth 


Mezzanine  lounge  at  Playhouse 


Concession  stand  features  modular  areas 
International  Projectionist  April,  19G± 


Wonderama  Reviewed  in  New  Jersey 


The  Wonderama  Process,  the  projection  of  which  is  shown  above,  was 
viewed  by  the  public  for  the  first  time  last  month.  The  process  is  a  development 
of  Walter  Reade-Sterling,  Inc. 


New  Equipment  for 
Sayrewood  Theatre 

SAYREVILLE,  Y  J.  The  pro- 
jection booth  of  the  new  Sayrew I 

rheatre  is  well  equipped  ti>  accom- 
modate modern  needs.  New  Century 
projectors  and  (  entury  transistorized 
sound:  Magnarc  lamphouses  and 
silicon  rectifiers;  Bauscfa  \  Lomh 
lenses;  Neumade  and  Goldberg  film 
handling  equipment  and  a  Techikot* 
Pearlescent  screen. 

Other  new  equipment  includes 
nylon  rubber-backed  carpeting,  stage 
draperies  and  aluminum  frames  1>\ 
George  Hornstein.  Hie  Sayrewood 
Treatre  was  equipped  by  Joe  Horn- 
stein, Inc.,  <>f  New  ^  ork.  iP 

Ballantyne  Orders 
Norelco  Projectors 

OMAN  t— Orders  for  over  $350,- 
000  worth  of  Norelco  \\  II  70  35 
mm  projectors  have  been  placed  1>\ 
R  ilhtntMie  Instruments  and  Electron- 
ics, Inc.  with  North  \meiican  Philips 
i  i  mpany .  Inc.,  according  to  I.  Rob 
ert  Hoff.  Executive  Vice  President  of 
Rallantvne.  He  said  the  new  order 
is  "one  of  the  largest  equipment  or- 
ders l>\  an)  distributor,  and  will 
probably  take  care  of  our  needs 
through  June  of  1964."  Hoff  added. 
"This  will  keep  us  a  leading  distribu- 
tor for  Norelco  in  the  I  .  S." 

The  new  order  brought  Ballan- 
tyne's  1963  Norelco  purchases  to  i 
total  of  more  than  $689,000,  includ- 
ing over  a  quarter-million  dollars  for 
Norelco  FP  20  Rs.  Rallantvne  in 
stalled  main  of  them  in  1963,  as  part 
of  the  company's  All-in-One  theatre 
package.  iP 

International  Projectionist 


Enthusiastic 
Welcome  for 
New  Process 

Wonderama,  a  revolutionary  new 
screen  process,  had  its  World  Pre- 
miere March  5  at  the  Strand  Theatre 
in  Plainfield,  N.  I. 

W  ilt.  i  Re  ide,  Jr.,  Chairman  of  the 
Board  of  \\  alter  Reade-Sterling  Inc., 
said  the  innovation  i-  the  result  of  an 
electronic  and  prismatic  lens  inven- 
tion that  includes  the  printing  oi 
each  of  the  thousands  of  picture 
frames  t li.it  make  up  a  motion  picture 
vertically  in  two  babes  on  the  film, 
instead  of  horizontally .  I  lie  two  parts 
are  projected  and  joined  together  l>\ 
prismatic  optic  lens  to  fill  a  screen 
which  i~  the  largest  ever  to  be  in- 
stalled  in  a  theatre  in  New  Jersey. 

The  motion  picture  shown  in  the 
new  process  was  "Mediterranean 
Holiday,"  in  which  twenty  teen-age 
sea  cadets  sail  a  three-masted  clipper 
ship  to  the  colorful  countries  of  the 
Mediterranean. 

The  Wonderama  process  was  devel- 
oped bv  Leon  Rronesky.  It  is  the  in- 
vention of  Dr.  Leon  Wells,  a  noted 
polish-born    American  scientist. 

Wonderama  produces  an  evenly- 
lighted  picture  through  the  use  or 
one  light  source,  providing  double 
the  brilliance  normally  used  in  mo- 
tion picture  theatre  projectors  (140 
amps  instead  of  65  amps  I . 

Samuel  J.  Colosimo.  Chief  Engi- 
neer of  Walter  Reade-Sterling.  Inc. 
supervised  the  installation  of  Won- 
derama at  Plainfield.  The  Wonder- 
ama system  can  be  attached  to  am 
35mm  projector.  iP 

April.   1964 


TNT  Demonstrates 
First  Big-Screen 
Color  Television 

WASHINGTON,  D.  C.  —  TNT 
(Theatre  Network  Television.  Inc.) 
the  companv  which  founded  closed- 
circuit  television  communications, 
demonstrated  Color  Eidophor  -  the 
world's  first  practical  large-screen 
television  system  in  true  color  -  link- 
ed with  a  revolutionary  Norelco 
color  TV  Plumbicon  camera  in  a 
series  of  showings  recently. 

The  showings  included  material 
which  demonstrated  the  wide  range 
of  closed-circuit  uses  now  made  prac- 
tical  for  the  first  time.  A  model 
twirled  a  parasol  that  created  a  dra- 
matic, rainbow  effect  in  completely 
realistic  colors.  Art-work  for  fash- 
ion and  cosmetic  advertising  came 
through  with  equally  realistic  flesh 
tones.  \  table  covered  with  fruit 
demonstrated  the  kind  of  color  qual- 
itv  which  observers  said  was  com- 
parable to  that  of  35  mm.  color 
motion  picture  film. 

The  terrain  seemed  to  leap  from 
the  television  screen  during  the  dem- 
onstration of  a  flight  simulation.  A 
tactical  military  situation  was  dis- 
played  against  a  map  background. 
Mpha  numeric  characters  and  sym- 
bols were  electronically  generated  to 
represent  missiles,  aircraft  and  other 
military  units,  which  moved  on  the 
Eidophor  display.  Information,  such 
as  weather,  was  shown  in  appropriate 
colors   on   the   map   background. 

Nathan  L.  Halpern.  TNT  presi- 
dent, predicted  that  the  new  color 
television  system  "will  inaugurate  a 
new  era  in  closed-circuit  television 
communications."  He  said  that  in- 
dustry as  well  as  theatre  pay-TV 
will  make  use  of  the  new  system  for 
color  transmission  and  projection  of 
business  meetings  and  for  presenta- 
tion of  musical,  dramatic  and  sports 
events. 

T  h  e  Pentagon  demonstration 
marked  the  debut  of  a  revolutionary 
Plumbicon  closed-circuit  color  TV 
camera  described  by  Halpern  as  a 
"major  breakthrough  in  color  tele- 
visions production."  The  camera 
was  specially  built  for  color  closed- 
circuit  TV  work  by  Philips  for  TNT. 

The  color  Plumbicon  camera  is 
based   upon   a   revolutionary  camera 

I  Please  turn  to  page  11 ) 

9 


New  Headquarters  for  the  Company  .  .  . 

Walter  Reade-Sterling  Opens  34th  St.  Theatre 


A  building  in  New  York's  fash- 
ionable Murray  Hill  section,  which 
for  decades  housed  a  utility  sub-sta- 
tion, has  become  the  home  both  of 
New  York  City's  newest  motion  pic- 
ture theatre,  and  the  New  York  head- 
quarters for  the  far-flung  Walter 
Reade-Sterling,  Inc.  organization. 

The  theatre  is  the  34th  St.  East, 
latest  of  the  deluxe  cinemas  operated 
by  the  circuit  which  now  numbers 
nearly  50  theatres  under  a  rapid  ex- 


pansion program,  and  also  engages 
in  the  production  and  distribution 
of  theatrical,  television  and  16mm 
film.  In  the  three  stories  above  the 
theatre  are  the  new  consolidated  Man- 
hattan  offices   of  the   company. 

The  building  was  acquired  by  the 
company  about  a  year  ago.  All  that 
remains  now  is  the  shell — the  entire 
interior  has  been  rebuilt  to  house  the 
modern  theatre  and  offices. 


The  exterior  has  a  facade  of  heavy 
granite  stone  blocks  on  the  street 
level,  and  bricks  on  the  upper  three 
floors.  A  modern  marquee,  built  by 
Artkraft  Strauss  of  New  York,  marks 
the  theatre  entrance.  Access  to  the 
office  area  is  through  the  theatre 
lobby.  Visitors  can  reach  the  self- 
service  elevator  without  passing  the 
ticket-taker. 

The   new   building  not   only   gives 


Taking  its  place  in  a  graceful  background,  the  new  34th 
St.  East  complements  its  surroundings. 


Glass   doors   lead   from   the   foyer   to   the   main   corridors, 
well-lighted  by  recessed  fixtures. 


The  gentle  slope  cf  the  auditorium  assures  good  visibility 
from  all  parts  of  the  house. 

10 


Wide,  attractive  corridors  afford  movie-goers  ample  room 
for  locating  seats  and  facilities. 


International  Projectionist 


April,  1964 


Walter  Reade-Sterling  its  fourth  de- 
luxe New  ^  ork  cinema  fur  the  pres- 
entation of  specialized  film  —  the 
others  are  the  DeMille  on  Seventh 
\\eiuie  and  the  twin  Baronet  and 
Coronet  on  the  East  side — hut  also  for 
the  first  time  brings  under  one  roof 
the  theatrical  film,  television  and 
lOmm  film,  and  theatre  exhibition 
offices  which  formerl)  occupied  m-|>- 
arate  offices  in   New    ^  ork. 

The  company's  executive  offices 
continue  in  tin-  Mas  fair  House  in 
Oakhurst,    Y    J.,    approximate^    60 

miles    from    New    \  oik   Cit)  . 

John  J.  \li  Namara,  \.  I.  V.  was 
architect  for  the  theatre  and  office-, 
and    Holhv     \    Hewes    of    New     York 

Citj    were  the  general  contractors. 

The  theatre,  with  a  Beating  capacit) 
of  ahout  500,  i>  a  stadium  type,  with 
a  mezzanine  or  loge  area  slight!) 
raised  above  the  resl  of  the  orchestra. 

The  dominant  color  i>  an  unusual 
lavender,     which     lias     been     carried 

through  in  the  curtain,  carpeting  and 
the    accoustical    walls.    Griggs    push- 

back  seats,  used  throughout,  are 
white,  providing  a  sharp  color  con- 
trast.  \  Bingle  large  gold  sunburst 
dominates  each  side  wall. 

Entrance  from  the  Btreel  leads  to 
an  outer  lobby,  with  a  cashier  behind 
the  counter-level  de>k.  Four  modern 
ceiling  fixtures  Bpotlight  the  cashier; 
other  lighting  is  provided  hv  ceiling 
sed  lamps.  Vnother  set  of  glass 
doors  leads  into  the  inner  lobby, 
which  provides  access  both  to  the  ele- 

irator,   and  to  the-  theatre  auditorium. 

Rest  room  facilities,  the-  manager's 

office,  telephone-  booth  and  the-  eleva- 
tor are-  all  situated  off  the  inner  lob- 
by. Modem  paintings  have  he-en  hunjl 
alonj;  the  walls,  and  just  before  the 
several  steps  leading  up  to  the  audi- 
torium are  a  drink,  a  candy,  and  a 
cigarette  machine,  each  recessed  into 
the  wall. 

The  projection  hooth  is  a  half- 
floor  up.  above  the  loge  area.  The 
curtain,  which  wraps  around  the 
front  portion  of  the  side  walls,  opens 
from  the  center. 

The  offices  of  executives  and  de- 
partment heads  of  the  Walter  Reade- 
Sterling  organization  are  located  on 
the  top  floor  of  the  building.  Adver- 
tising and  sales  staffs  are  on  the  third 
floor:  film  inspection,  storage,  edit- 
ing, and  shipping  rooms  and  stock 
and  mail  facilities  are  on  the  second 
floor. 

Capitol  Motion  Picture  Supply 
Corporation  of  New  York  City  pro- 
vided seats,  projection  and  sound 
equipment:  Doolittle-Allen  Co.  of 
Trenton.  N.  J.,  carpeting:  King  Dis- 
plays. Inc.  of  New  York  City,  adver- 
tising displays.  iP 

International  Projectionist 


Big  -  Screen 
Color  Television 

f  Continued  from  page  l>  I 
tube  completely  different  from  the 
image  orthicon  tubes  previously 
used  in  color  television  cameras. 
Compared  with  image  orthicon  tv  pe- 
ed color  cameras,  the  Plumbicon 
color  camera  is  only  about  one-third 
their  size,  thereby  providing  ease  of 
operation,  greater  maneuverability 
and  production  economy  hitherto 
impossible  in  color  television  pro- 
gramming.  \  Plumbicon  color  cam- 
era has  the  advantage  of  requiring 
onlj  about  five  minutes  of  prepara- 
tory "warm-up"  time,  whereas  image 
orthicon    cameras    need    as    much    as 

one  hour.  Furthermore,  these  cam- 
eras, because  of  the  Plumbicon  tube 

characteristics  in  combination  with 
an  improved  optical  system,  can 
operate  at  a  light  level  two-thirds 
less  than  that  required  previously. 

I  he  new  (.olor  hidophor  projec- 
tor, for  which  TNT  i-  the  exclusive 
distributor    in    the    I  nited    States   and 

Canada,  solves  three  major  engineer- 
ing problems,  according  to  Mr.  Hal- 
pern,  which  have  -lowed  progress  in 
closed-circuit  color  TV  communica- 
tion— bright  illumination,  true  color. 
and  claritj   of  picture  detail. 

Plumbicon  cameras  for  closed- 
circuit  color  television  will  be-  manu- 
factured and  marketed  bv  North 
American  Philips  Company,  Inc. 
INI'  is  the  exclusive  distributor  to 
the  I  .S.  government  and  to  industry 
in  defense  and  other  government 
work.  Philips,  in  conjunction  with 
Greta-  Ltd..  a  subsidiarv  of  Ciba  of 
Switzerland.  also  developed  the 
("olor    Eidophor   projector. 

iP 

R.  Goldblatt,  81, 

Dies  in  New  York 

Robert  Goldblatt.  former  foundei 
of  the  Motion  Picture  Projectionist 
Societv  died  recent!)  at  the  age  of 
81. 

In  1  (J07  he  and  a  number  of  other 
projectionists  in  New  \  ork  gathered 
around  his  Star  Theater,  where  he 
was  an  operator,  and  founded  what  is 
now    IATSE    Local    306. 

Mr.  Goldblatt  for  mam  vears  was 
projectionist  at  the  old  Bijou  Dream 
Theater  in  New  York  Citv . 

His  family,  consisting  of  a  wife, 
children  and  grandchildren,  survive. 
They  still  operate  the  Music  Hall 
Theater  in  Tarrvtown.  New  York, 
which  he  started  fifty  years  ago.  Be- 
sides being  a  charter  member  of  306. 
he  was  also  an  honorarv  member  of 
the  2530  Club.  iP 

April,  1964 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeespoit.  Pa 


Norelco 

projection 
equipment- 
Available  from 
leading    theatre   supply 
dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment    Division 
100    E.   42nd   St.,    New   York    17,   N.Y. 


America's 
headquarters 

lor  all 
theatre  equipment 


supplies 


National 

THEATRE  SUPPLY  COMPANY 


11 


UA  Opens  'Theatre-Within-A-Theatre  in  Louisville 


This  sketch  of  the  interior  of  the  United  Artists  Theatre  in  Louisville, 
Ky.,  shows  the  relative  locations  of  the  2,000-seat  auditorium  and  the  810-seat 
Penthouse. 


Projection   Make-ready   for   Drive-ins 

(Continued  from  page  5) 


( d )  Projection  lenses.  Do  not  at- 
tempt to  disassemble  modern  sealed- 
gasket  projection  lenses.  Clean  only 
the  two  exposed  surfaces.  First,  wipe 
away  dust  with  a  soft  camel's-hair 
brush  kept  for  the  purpose,  then 
breathe  a  film  of  moisture  on  the 
glass  and  wipe  gently  with  lens  tissue, 
using  a  circular  motion.  Lens-clean- 
ing fluid,  not  alcohol,  should  be 
used  for  removing  greasy  stains  from 
lenses.  Pure  grain  alcohol  is  indeed 
satisfactory  if  you  can  get  it,  but 
commercial  denatured  alcohols  usual- 
ly contain  oily  and  tarry  substances. 
Unless  you  own  a  still,  stick  to  lens- 
cleaning  fluid. 

(e)  Soundhead  optics.  Without 
removing  or  disturbing  the  adjust- 
ment of  the  optical  tube,  wipe  the 
exposed  lenses  with  lens  tissue  wrap- 
ped around  a  piece  of  toothpick. 
Wipe  the  exciter  lamps,  photocell 
lenses,  and  photocell  tubes  with  a 
clean  cloth  or  lens  tissue.  Avoid  get- 
ting fingerprints  on  the  glass  surfaces. 

7.  AMPLIFIERS 

All  amplifier  racks  and  cabinets 
and  sound  power  supply  units  should 
be  wiped  free  from  dust.  It  is  very 
important  to  avoid  getting  dust  into 
the  tube  or  transistor  sockets,  so  do 
not  remove  the  tubes  before  cleaning. 

Check  all  fuses  in  these  units.  All 
tubes  and  rectifier  bulbs  should  be 
checked  for  tight  connections.  As  a 
rule,  it  is  not  necessary  to  open  up 
rheostats,  potentiometers,  sound 
switches,  changeover  faders,  etc.  for 
inspection  unless  a  later  sound  check 
reveals  trouble.  That  is  properly  a 
job  for  the  sound  service  engineer,  as 
is  also  the  testing  of  amplifier  tubes. 

12 


B.   LUBRICATION 

Preliminary.  Assure  yourself  thaf 
the  water  supply  for  lamp  and  aper- 
ture cooling  is  functioning  properly. 
Recirculators  require  special  atten- 
tion —  flush  out  the  tubing,  reser- 
voirs, and  circulating  pumps  accord- 
ing to  the  manufacturer's  instruc- 
tions before  filling  with  pure  water 
for  operation. 

1.  GENERATORS 

Fill  grease  cups  half  full  of  bearing 
grease  with  a  grease  gun  or  other 
suitable  means.  If  bearings  are  over- 
filled, wipe  off  excess  as  it  is  forced 
out  during  an  hour  of  "running  in'* 
the  machine.  Keep  grease  off  the 
commutator  and  brushes 

2.  ARC  LAMPS 

Suprex  ( simplified  high-intensity ) 
type  (  Peerless  Magnarc )  :  Introduce 
a  few  drops  of  projector  oil  into  each 
oil  cup  or  bearing  oil  hole.  Do  not 
overoil.    Use  no  graphite  grease. 

Rotating  -  positive  high  -  intensity 
type  {Strong)  :  Use  the  manufac- 
turer's heat-resistant  lubricant  con- 
taining metallic  powder.  Add  just  a 
drop  or  two  of  the  thoroughly  shaken 
lubricant  to  positive  and  negative 
feed-head  oiling  points.  Use  no 
graphite,  grease,  or  projector  oil  in- 
side the  lamp. 

Caked  metallic  powder  in  tne 
positive  carbon  drive  mechanism, 
indicated  when  the  manual  carbon 
feed  handle  cranks  hard,  should  be 
removed  by  taking  the  assembly  from 
the  lamp  and  spinning  the  drive 
rollers  under  kerosene.  The  motor 
gear-box  is  sealed  and  seldom  re- 
quires greasing. 

(Please  turn  to  page  14) 


The  United  Artists  Theatre  in 
downtown  Louisville,  Ky.,  by  imagin- 
ary architecture  and  engineering,  has 
been  converted  to  a  theatre-within-a- 
theatre. 

The  United  Artists  Penthouse 
Theatre  occupies  the  balcony,  and 
the  United  Artists  Theatre  occupies 
the  lower  floor.  Then  Penthouse  has 
810  seats  and  the  United  Artists 
Theatre  has  2,000  seats. 

Fourth  Avenue  Amusement  Com- 
pany Inc.,  the  lessee  from  the  United 
Artists  Corporation,  had  direct 
supervision  of  remodeling  and  con- 
struction. The  Fourth  Avenue 
Amusement  Company  operates  six 
theatres  in  Louisville:  the  Rialto,  Up- 
town, Penthouse  and  United  Artists, 
and  the  Twilite  and  Skyway,  both 
drive-ins. 

The  company  is  headed  by  D. 
Irwin  Long.  Louis  Arru  is  executive 
vice  president  and  Robert  E.  Gross  is 
purchasing  director  and  supervisor. 
The  company  relinquished  its  lease 
to  the  Brown  Theatre,  the  film  road 
show  house.  The  Fourth  Avenue 
company  has  transferred  the  70/35 
equipment  to  the  Penthouse  Theatre, 
and  will  operate  on  a  road  show 
policy. 

Walter  C.  Wagner  and  Joseph  H. 
Potts  were  the  architects  on  the  pro- 
ject. They  built  a  wall  from  the 
balcony  rail  to  the  ceiling,  and  con- 
structed another  projection  booth  on 
that  same  wall  for  the  United  Artists 
Theatre  on  the  lower  floor. 

The  Penthouse  uses  the  existing 
projection  room  up  near  the  ceiling, 
and  is  a  stadium  type  of  theatre.  The 
Penthouse  booth  is  equipped  with 
Norelco  70/35mm  projectors  with 
Ampex  stereo  sound  system.  The 
35mm  projectors  and  sound  system 
were  moved  from  the  original  booth 
to  the  United  Artists  Theatre.  The 
Penthouse  screen  is  42  ft.  wide  x  22 
ft.  high;  projection  throw  is  74  ft. 
For  the  convenience  of  patrons  of  the 
Penthouse  Theatre,  an  escalator  con- 
nects it  to  the  lobby  floor. 

According  to  president  Long,  the 
Fourth  Avenue  Amusement  Company 
had  decided  to  build  a  new  theatre 
on  the  outlying  shopping  areas.  The 
location  of  an  expressway  was  a 
major  factor  in  Long's  decision  to 
stay  downtown.  He  said  since  the 
opening  of  a  new  bridge,  people  from 
Indiana  will  have  quicker  access  to 
downtown  Louisville.  The  Penthouse 
Theatre  opened  with  "Lawrence  of 
Arabia."  iP 


International  Projectionist 


April,  1964 


Arc  Lamps  tor  Virginia  Drive-In 


New  'Trouper' 
For  Chicago's 
McCormick  PEace 


The  new  Strong  Futura  projection  arc  lamps  just  installed  at  the  Wilder 
Drive-In  Theatre,  Norfolk,  Va.,  are  shown  in  operation  by  W.  H.  Poore,  pro- 
jectionist. 


Ballantyne  Has 
Banner  Year 

Ballantyne  Instruments  &  Electron- 
ics. Inc.  wound  up  1963  with  gross 
sales  doubled  and  net  income  quad- 
rupled from  those  of  1962.  Ballantyne 
is  a  division  of  ABC  Vending  Corp. 

J.  Robert  Hoff.  executive  vice- 
president  and  general  manager  <>f 
Ballantyne  said.  "This  record  year 
has  been  the  result  of  the  introduc- 
tion of  our  complete  equipment  fin- 
ance package  for  shopping  center  the- 
atres, deluxe  downtown  theatres,  and 
small  and  large  drive-in  theatres. 
Sales  of  our  Flavor-Crisp  pressure 
frying  equipment  have  also  shown 
dramatic  growth.  \s  of  today,  we 
have  a  backlog  of  theatre  contracts 
in  excess  of  $2,000,000,  which  is 
equal  to  our  entire  business  in  this 
division  in  1963.  Therefore,  1064 
should  produce  e\en  greater  gain- 
in   gross   business   and    net    income." 

Mr.  Hoff  said  that  over  20  the- 
atres were  installed  during  the  last 
four  months  of  1963,  climaxed  by 
seven  theatres  being  opened  in  Dec- 
ember alone,  which  is  normally  a 
month  that  theatre  owners  shun  for 
business  reasons.  A  first  was  prob- 
ably set  with  the  simultaneous  open- 
ing of  two  shopping  center  theatres  in 
Youngstown.  Ohio  for  the  Broumas 
circuit  late  in  December. 

Edward  J.  Nelson,  vice-president 
and     assistant    general    manager    of 

International  Proj ectiontst 


Ballantyne,  said  all-in-one  package, 
complete!)  financed  theatre  installa- 
tion contracts  will  be  set  in  the  next 
lew  months.  In  at  least  two  instances. 
both  an  indoor  and  a  drive-in  theatre 
are  involved  in  the  same  city. 

Each    equipment    package    can    be 


A  recent  addition  to  what  is  prob- 
ably the  world's  largest  installation  of 
carbon  arc  lighting  equipment,  is  that 
of  a  short  throw  Super  Trouper  follow 
spotlight  put  into  use  at  the  5000-seat 
Crown  Theatre  in  Chicago's  exposition 
building,  McCormick  Place.  The  in- 
stallation now  includes  12  follow  spot- 
lights, three  slide  projectors  and  two 
motion  picture  projection  arcs. 

purchased  on  a  delivered  and  in- 
stalled basis  using  factory  trained 
Mipci  \  isoi  \  engineers  working  w  illi 
RCA  and  Altec  service  companies, 
I  VI'SC  projectionists  and  stage- 
hands, chair  and  carpet  specialists. 
1963  marks  the  31st  year  Ballan- 
tyne  lias  supplied  equipment  to  the 
theatre    industry.  iP 


HEYER-SHULTZ 
METAL  REFLECTORS 

Top  Screen  Illumination 

Will  Not  Break,  Pit  or  Tarnish 

No  Replacement  or  Spare  Reflectors  Required 

See  your  dealer  or  write  for  full  particulars 
Manufactured  By  HEYER-SHULTZ,  Inc.,  Cedar  Grove,  N.  J. 


THE  VERY  FINEST 


PROJECTOR  PARTS 


The  ultimate  in  precision,  long  life  and  dependability — 
they  keep  projectors  in  top  operating  condition  essential 
to  good  pictures,  patron  satisfaction  and  good  business. 
Available  through  your  Theatre  Equipment  Dealer. 


SINCE    1908 


MACHINE    WORKS 

4635  W.  LAKE  ST.,  CHICAGO  44,  ILL. 
TELEPHONE— AREA  312— ES  8-1636 


S5.38    I 


)  rr  T: 


April.  1964 


13 


Atlanta  Threatre  Displays  New  Lamps 


Installation  of  Strong  projection  arc  lamps  and  Bi-Powr  rectifier  in  another 
of  the  new  shopping  center  theatres  is  that  at  The  Lenox  Square,  Atlanta,  Ga. 
Pictured  with  the  equipment  is  John  McCarthy,  projectionist,  and  H.  W.  Ruther- 
ford, right,  manager  of  the  Lenox  Square. 


Cinerama,  Altec  Service 
Conclude  Agreement 

NEW  YORK  —  Negotiations  have 
been  successfully  concluded  between 
Gerhard  Lessman,  Vice  President  of 
Cinerama,  Inc.  and  R.  E.  Pierce, 
Operating  Manager  of  Altec  Service 
Corporation,  a  subsidiary  of  Ling- 
Temco-Vought,  Inc.,  giving  Altec  the 
responsibility  of  supervising  the  in- 
stallation of  equipment  in  new  Ciner- 
ama theatres  through  the  continental 
United  States.  Installation  respon- 
sibility will  include  screen,  curtains, 
projection   and  sound  systems. 

At  his  Anaheim,  Calif,  office, 
George  L.  Carrington,  Jr.,  General 
Manager  of  Altec  Service  Corpora- 
tion stated:  "We  are  extremely  proud 
to  have  been  selected  for  this  large 
responsibility.  We  feel  that  our  con- 
tinued policy  of  primary  attention  to 
the  motion  picture  industry,  our 
engineering  knowledge  and  exper- 
ience on  all  of  the  latest  techniques 
has,  again,  proven  of  value  to  the 
trade."  iP 


Soldier  Develops 
New  Projection, 
Filming  Process 

Korea  —  A  postage  stamp  picture 
on  an  envelope-sized  screen  are 
things  of  the  past  because  of  a  new 
motion  picture  filming  process  and 
revolutionary  projecting  technique 
copyrighted  by  Pfc.  Clarence  B. 
Fletcher,  on  duty  here  with  the  U.  S. 
Army. 

The  process  features  the  use  of  the 
anamorphic  lens,  similar  to  the 
image-squeezers  of  cinemascope,  and 
either  a  telephoto,  wide-angle  or  nor- 
mal lens  in  8mm  filming.  The  zoo- 
mar  lens  (of  the  same  type  which 
allows  TV  to  move  quickly  from  nor- 
mal views  to  close-up )  and  the 
anamorphic  lens  are  used  simultane- 
ously during  projection  to  give  a  per- 
manently fixed  and  focused  picture 
regardless  of  the  projector's  location. 

Super-Cogitation-8  is  a  boon  to 
TV  producers  and  has  potentialities 
for  C-Z  movie  makers  using  the 
8mm  film  process.  iP 


Projection  Make-ready 
For  Drive-ins 

Continued  from  page  12 
3.  PICTURE  MECHANISMS 
Follow  the  manufacturer's  instruc- 
tions, depending  on  make  and  model. 
Use  oil  liberally  on  the  gear  side  of 
old-style  mechanisms,  but  guard 
against  soiling  the  projector.  Oil  the 
rear  shutter  bearings.  Refill  auto- 
matically lubricated  mechanisms  with 
fresh  oil  after  flushing  out  old  oil. 
Lubricate  the  cleaned  gear  teeth  (A3) 
with  a  light  application  of  gear 
grease,  except  in  automatically  lubri- 
cated mechanisms.  Use  gear  grease 
on  the  chains  of  chain-drive  mechan- 
isms and  takeups.  ( Gear  grease  is 
sticky  —  oil  or  ordinary  grease  is 
thrown  off  when  the  machine  runs.) 
Bearings  of  the  Motiograph  AA 
require  no  lubrication  at  any  time. 
Flush  out  and  refill  oil  wells  of  Sim- 
plex-type intermittents,  but  do  not 
risk  soiling  the  machine  by  over- 
filling. Inject  grease  into  Motiograph 
intermittents,  AA  as  well  as  the  Ff 
and  K  models.  On  the  operator's 
side,  place  one  or  two  drops  of  pro- 
jector oil  in  the  idler  oil  holes.  Light- 
ly oil  the  gate  carriage,  lens  focusing 
device,  and  framing  carriage  parts. 
4.  SOUNDHEADS  AND  MOTOR 
Lubricate  drive-gear  bearings,  uni- 
versal transmissions,  and  projector 
motor  according  to  the  manufactur- 
er's instructions.  Gear  teeth  should 
be  lubricated  with  grease,  as  in  B3. 

iP 


ASH  CRAFT 

CORE-LIGHT 

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And 

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•  Longer  Burning  per  Carbon 
*  More  Economical 


products 


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by  Cinemeccanica 


B  O  O  N  T  O  N.   N.  J. 


^r/?oy/  POWER  SUPPLIES 

by  Christie 


14 


International  Projectionist 


April,  1964 


ilmY 


basic 
mathematics 

by  NORMAN  H    CIOWHUSIT 


PRACTICAL 
METHOD 


y 


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VOLUMES 
1  through  4 
COMPLETE 

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TMIOUCM  UiCUlft 

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IN  THAT  LITTLE  BLACK  BOX 


Actual  brightness  readings  with  Panavision  brightness 
meters  on  numerous  TV  tubes  of  various  vintages  show 
an  average  brightness  of  13.4  foot  lamberts. 

5  TIMES  BRIGHTER  THAN  THE 
AVERAGE  DRIVE-IN  SCREEN 

Although  technical  groups  recommend  a  minimum  of 
4.5  foot  lamberts  for  drive-in  screens,  surveys  disclose 
that  the  actual  measurements  read  as  low  as  1  foot 
lambert  and  only  as  high  as  4  foot  lamberts. 

If  you  hope  to  bring  back  those  patrons  you  must  have 
a  screen  brilliance  that  at  least  competes  with  TV. 

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The  rather  unorthodox  Simplex  X-L 
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Jam  Handy  Organization  to  project  three 
1  dimensional  images  on  an  hemispheric 
screen  in  the  Wrap-Around  Theatre  Sys- 
tem. (See  story  on  Page  8). 


(X89£°)     uofSXATd  Jap^O 


MAY 

VOLUME  39 
40c  A  COPY 


1964 

NUMBER  5 

$3.00  A  YEAR 


A  Scene  From  America's  Projector  Carbon  Center... 


X-ray  reveals  breaks  and  voids  in  positive  projector  carbon  cores 


"The  x-ray  eyes  of  our  inspectors  are  your 
assurance  of  perfect  projector  carbon  cores" 


f       : 


A  at 

Veryl  Johnson 


You  can't  judge  a  movie  by  its 
title.  And  you  can't  judge  a  pro- 
jector carbon  solely  from  the 
outside.  That's  why  carbon  in- 
spectors in  our  plant  in  Fostoria, 
Ohio,  test  every  carbon  from 
the  inside  out— with  modern  x-ray  equipment. 
As  an  extra  safeguard,  our  inspectors  are  paid 
a  premium  for  every  imperfect  carbon  they  re- 
ject and  scrap. 

Shown  above  is  our  x-ray  room,  through  which 
all  positive  carbons  must  pass  on  a  belt  contain- 
ing from  6  to  20  carbons,  depending  on  size.  The 
assignment  is  to  weed  out  carbons  with  voids  or 


-says  VERYL  JOHNSON 

"National"  Sales  Engineer 

breaks  in  their  rare  earth  cores  —  the  key  to  un- 
interrupted burning  and  maximum  light  quality . 

As  a  further  inspection  safeguard,  operators 
of  this  x-ray  equipment  stay  keen  and  alert  by 
changing  off  every  30  minutes! 

Quality  manufacturing  and  precision  testing 
are  only  a  part  of  the  National  projector  car- 
bon story.  For  more  than  45  years  we  have  pro- 
vided the  motion  picture  theatre  industry  with 
unsurpassed  technical  service. 

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INTERNATIONAL 

PROJ  ECTIONIST 


Volume  39 


May  1964 


No.  5 


FRANK   W.   COOLEY,    JR. 
Editor   and    Publisher 

RAY  GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO   ASSOCIATES 

National  Advertising  Representatives 

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IN   THIS   ISSUE 

Equalizing   Sight  and   Sound 

The  Cover  Story  .  .  . 
Wrap-around  Theatre 

WR  S  Opens  Unique  Theatre 

Wayne  Theatre  Opening 

Wonderama  Augments  Capabilities 


10 
12 

14 


And  a  new  feature  . 
Sound   Track 

By  J.  G.  Jackson 


Newt  Notes — Technical  Hints — Miscellaneous  Notes 


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International  Projectionist        May  1964 


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INTERNATIONAL  PROJECTIONIST 


Volume  39 


May,   1964 


Number  5 


Equalizing  projectors  for  sight  and  sound 


Noticeable  changes  in  projec- 
tion quality  on  changeover  can 
be  prevented  through  compet- 
ent operation,  matching  of 
equipment. 


Among  the  defects  in  projection  considered 
especially  annoying  by  filmgoers  are  bad  focus,  un- 
even and  discolored  screen  illumination,  picture  jump, 
improper  sound  volume,  and  noticeable  sudden  changes 
in  the  quality  of  the  projection  when  changeovers  are 
made.  The  last  defect  is  unavoidable  when  the  others  are 
present  because  it  is  unlikely  that  both  projectors  would 
be  malfunctioning  in  the  same  way  and  to  the  same  degree. 
The  use  of  more  than  one  projector  in  a  theatre  in- 
stallation is  necessary,  of  course,  for  uninterrupted  per- 
formances. A  few  very  large  theatres  have  three,  or  even 
four,  projectors,  providing  even  more  opportunity  for 
projector  imbalance  to  show  up  at  changeovers.  And 
even  the  most  subtle  changes  in  pictures  and  sound  qual- 
ity are  noticed  by  movie  patrons. 

Nearly  every  motion-picture  audience  includes  a  few 
individuals  who  are  aware  of  the  fact  that  two  projectors 
are  normally  employed,  and  they  know  just  enough 
about  the  projection  process  to  determine  (by  glancing 
up  toward  the  projection  room)  which  of  the  two  pro- 
jectors is  malfunctioning.  It  bodes  our  craft  no  good 
when  such  a  patron  informs  the  manager  which  projec- 
tor is  performing  like  a  mechanical  lemon. 

"Projectionists"  versus  "Operators" 

IP  has  frequently  repeated  the  truism  that  "compe- 
tence is  the  only  commodity  the  projection  craft  has  to 
sell,"  for  without  competent  handling  of  the  sight-and- 
sound  process  there  is  nothing  worthy  of  the  name 
projection.  We  therefore  find  it  incredible  that  the  den- 
izens of  certain  projection  rooms  simply  don't  give  a 
damn  how  the  picture  looks  or  sounds  so  long  as  film 
travels  through  the  mechanism.  We  hesitate  to  call  such 
fellows  projectionists;  they  are  "operators,"  and  not 
competent  ones,  either! 

Like  anyone  else,  a  projectionist  is  not  personally 
enthralled  by  each  and  every  picture  that  comes  along. 
But  a  good  projectionist  never  forgets  that  the  motion- 
picture  industry  strives  to  cater  to  all  tastes.  There  are  all 
kinds  of  audiences;  and  the  films  that  would  bore  one 
audience  may  enchant  another,  and  vice  versa.  Because 


every  audience  deserves  our  best  efforts,  every  film  must 
be  projected  as  well  as  it  can  be  projected.  This  in- 
volves the  ethics  of  our  craft.  It  does  not  seen  quite 
ethical  to  take  special  pains  with  an  "art"  film  which 
draws  a  small,  select  audience,  and  allow  a  western  that 
packs  the  house  to  run  out  of  focus  just  because  the 
hackneyed  plot  isn't  worth  a  twist  of  the  focusing  knob! 
Laying  aside  his  personal  preferences  in  the  matter 
of  film  fare,  therefore,  the  truly  professional  projectionist 
views  the  picture  as  an  optical  image,  and  the  sound  as 
an  electro-acoustic  reproduction.  He  may  privately  damn 
the  short-sightedness  and  inanities  of  Hollywood,  but 
he  is  not  satisfied  as  a  projectionist  until  the  image  and  its 
accompanying  sound  reproduction  are  as  good  as  film 
and  equipment  allow  him  to  make  them.  Fortunately  for 
the  industry  in  these  days  of  a  return  of  the  public  to 
the  movies,  the  vast  majority  of  projectionists  adopt 
this  professional  attitude,  and  there  is  nothing  "sloppy" 
about  their  work. 

Watch  that  Focus! 

Poor  focus  stamps  projection  as  "sloppy"  as  does 
nothing  else.  When  one  projector  is  consistently  operated 
out  of  focus,  the  audience  is  made  painfully  aware  of 
the  mechanics  of  the  process  at  every  changeover.  For 
every  eighteen  or  twenty  minutes  of  a  sharp,  easy-to- 
view  image,  there  is  an  equal  interval  of  eye-straining 
blur.  The  audience  indirectly  pays  our  salaries:  is  this 
the  best  we  can  do  for  them? 

The  maintenance  of  sharp  focus  is  an  important  facet 
of  the  projectionist's  art,  a  job  that  requires  a  watchful 
eye  and  a  skilled  hand.  There's  no  such  animal  as  an 
automatic  focusing  device — you  have  to  perform  the 
operation  yourself.  Focus  should  be  checked  ( 1 )  at  the 
commencement  of  each  reel  and  (2)  again  when  the  reel 
is  about  halfway  through.  Arc  currents  in  excess  of 
100  amperes  may  require  more  frequent  focus  checks, 
especially  if  short-focus  lenses  be  used. 

It's  the  "operators,"  not  the  "projectionists,"  who 
set  the  focus  once  at  the  beginning  of  the  day  and  ex- 
pect  it  to   hold   until   midnight.   The   "operators"   place 

Please  turn  to  Page  7 

International  Projectionist        May  1964 


New...from  ti/^STJGffl/^GIL.Type  A704-the  uniform  magnetic  sound  recording  film 


Capture  depth...  resonance...vibrant  highs...get  true  audio  fidelity 


Brilliant  tone  quality  is  yours  with  Type  A704  —  Eastman's 
new  magnetic  sound  recording  film.  Why?  "R-type"  binder's 
the  answer.  Entirely  new,  chemically  stable,  extremely 
wear-resistant,  it  permits  smoother,  more  homogenous 
oxide  coatings,  resulting  in  suppression  of  surface  noise 
and  intermodulation  distortion.  At  the  same  time,  oxide 
build-up  on  both  recorder  and  pick-up  heads  is  minimized. 

And,  most  important,  "R-type"  binder  permits  uniform 
oxide  coatings  of  superb  magnetic  characteristics.  Both 


high  output  and  low  print-through  result  in  superb  repro- 
duction quality  — true  audio  fidelity. 

Another  advantage  is  "Lifetime  Coding"  which  provides 
an  accurate  means  of  logging  bias  settings,  re-use  and 
purchase  data. 

AVAILABLE  NOW:  16,  \1V2  and  35mm  widths-complete 
range  of  cores,  windings.  For  further  information  about 
EASTMAN  Magnetic  Sound  Recording  Film,  Type  A704, 
as  well  as  new  EASTMAN  Sound  Recording  Tapes,  contact: 


Magnetic  Products  Sales  Division 


EASTMAN  KODAK  COMPANY 


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6706  Santa  Monica  Blvd. 
Hollywood,  Calif. 


Sound  Track 


William  Dozier,  Greenway  Prexy, 
Addresses  SMPTE  Conference 


by  J.  G.  Jackson 

Starting  in  the  June,  1964 
issue  o£  International  Projec- 
tionist, contributing  editor. 
J.  G.  Jackson  will  conduct  a 
column  to  be  carried  under 
the  heading  "Sound  Track." 
This  will  afford  readers  an 
excellent  opportunity  to  ex- 
press their  views  on  a  variety 
of  subjects  dealing  with  pro- 
jection technology  and  the 
industry  in  general. 

Dear  Readers: 

This  column  has  been  suggested 
for  the  purpose  of  getting  the  view- 
points of  projectionists  throughout 
the  world.  We  will  discuss  one  sub- 
ject at  a  time  and  when  sufficient  in- 
formation is  gathered,  we  can  make 
some  form  of  recommendation  to  the 
standards  committees  of  the  indus- 
tries. In  this  way  the  voice  of  the 
projectionist  can  be  carried  to  the 
powers  that  be  in  the  production  end 
of  the  industry. 

The  first  topic  I  wish  to  discuss  is, 
I  think,  very  pertinent  to  all  pro- 
jectionists, "Curtain  Cue  Marks  on 
35mm  Film."  The  deplorable  condi- 
tion of  film  received  in  the  theatres 
is  nothing  short  of  shameful.  Every 
one  puts  on  his  own  marks  by 
scratch,  punch  or  grease  pencil,  with 
the  result  no  one  can  tell  which  one 
to  use. 

Surely  we  as  Projectionists  of  1964 
can  find  a  solution  to  this  wanton 
mutilation   of  valuable  film  stock. 

My  own  suggestion  is;  a  curtain 
cue  be  placed  on  the  film  at  a  dis- 
tance from  change  over  to  suit  a  slow 
curtain  and  the  mark  to  be  a  thin 
straight  line.  In  this  it  would  not  be 
confused  with  the  motor  cue  and  we 
who  have  fast  curtains  will  simply 
delay  a  second  or  two  before  striking 
the  curtain  switch.  When  the  cue  is 
set  at  a  standard  distance  from 
change  over  there  is  no  excuse  for 
anyone  putting  any  extra  marks  on 
the  film. 

So  let's  go,  brothers,  drop  a  line 
to  Sound  Track  and  give  your  sug- 
gestions and  views  as  to  what  kind  of 
a  mark  would  you  like  to  see  and 
how  many  feet  from  change  over. 

I  can  well  remember  the  silent 
days  of  the  roaring  twenties  when 
there  were  no  cue  marks  of  any  kind 


William  Dozier,  President  of  Green- 
way  Productions,  Inc.,  Hollywood 
television  production  organization, 
was  guest  speaker  at  the  95th  Tech- 
nical Conference  of  the  Society  of 
Motion  Picture  and  Television  Engi- 
neers (SMPTE)  April  13  at  the  Am- 
bassador Hotel  in  Los  Angeles.  His 
subject  was  "The  State  of  Television 
.  .  .  An  Appraisal." 

Long  active  in  the  motion-picture 
and  television  industries,  Mr.  Dozier 
for  four  years  until 
last    January    was 
senior  vice-president 
in  charge  of  produc- 
tion and  West  Coast 
operations    for 
(Screen    Gems,    Inc. 
IPrior  to  his  associ- 
ation    with     Screen 
|Gems,  he  was  vice- 
W.  Dozier       president  in  charge 
of  network  programs  for  CBS-TV  in 
Hollywood. 

A  native  of  Omaha,  Neb.,  Mr.  Doz- 
ier attended  Nebraska  schools  and 
received  his  bachelor's  degree  from 
The  Creighton  University,  Omaha,  in 
1929.  He  was  studying  law  at  the  Uni- 
versity of  Southern  California  in  Los 


on  the  film.  Each  projectionist  had  to 
check  the  film  and  look  for  some 
specific  point  of  action  at  about 
where  to  start  his  motor.  Later  the 
film  exchanges  produced  a  cue  sheet 
which  was  put  in  the  tin  with  the 
film.  When  sound  came  in  the  projec- 
tion craft  demanded  something  better 
so  the  standard  motor  and  change 
over  cues  were  put  on  when  the  film 
was  printed. 

Now  it  is  high  time  we  made  our- 
selves heard  again  and  get  the  pro- 
ducers to  give  us  a  standard  curtain 
cue  as  well. 

So  come  on  boys  —  "Sound  off" 
and  let  me  record  your  voice  on  the 
Sound  Track. 

J.   G.  Jackson 

Sound  Track  Editor 

P.S.  Address  your  cards  and  letters 
to  Sound  Track,  c/o  International 
Projectionist,  1645  Hennepin  Ave., 
Minneapolis,  Minnesota  55403. 


Angeles  in  1935  when  he  first  entered 
the  entertainment  business,  represent- 
ing writers  with  the  Phil  Berg-Bert 
Allenberg  talent  agency.  After  six 
years  with  Berg- Allenberg,  he  joined 
Paramount  Pictures  as  head  of  the 
studio's  story  and  writer  department. 

Held   RKO  Office 

In  1944,  Mr.  Dozier  was  appointed 
executive  assistant  to  the  late  Charles 
Koerner,  then  vice-president  in  charge 
of  production  at  RKO.  In  1946,  he 
joined  Universal-International  as  as- 
sociate head  of  production,  and  in 
1949;  moved  to  Columbia  Pictures 
as  a  producer. 

Mr.  Dozier  left  Columbia  to  work 
as  executive  assistant  to  Samuel  Gold- 
wyn,  where  he  remained  until  he 
joined  CBS  Television  in  1951  as  a 
member  of  the  New  York  program 
executive  staff. 

In  February,  1952,  he  was  named 
executive  producer  in  charge  of  dram- 
atic programs,  in  which  capacity  he 
guided  such  programs  as  "Studio 
One,"  "Danger,"  "Suspense"  and 
"You  Are  There."  In  January,  1955, 
he  was  transferred  to  the  West  Coast 
and  was  elevated  to  the  post  of  di- 
rector of  network  programs,  Holly- 
wood. 

Returned  to  Hollywood 

Mr.  Dozier  returned  to  RKO  in  the 
fall  of  1957  as  vice-president  in 
charge  of  production  in  Hollywood. 
He  returned  to  CBS  Television  City 
in  November,  1957,  and  on  April  1, 
1958,  became  vice-president  in  charge 
of  all  Hollywood  programming.  Dur- 
ing his  administrative  regime  at  CBS, 
such  Hollywood-originated  programs 
as  "Gunsmoke,"  "Have  Gun  —  Will 
Travel,"  "Playhouse  90,"  "Rawhide," 
"Climax"  and  "Perry  Mason,"  sev- 
eral of  which  are  still  on  the  air, 
came  into  being. 

He  married  actress  Ann  Ruther- 
ford in  1953.  Mr.  Dozier's  son,  Rob- 
ert, by  an  earlier  marriage,  is  a  well- 
known  motion-picture  and  television 
writer,  whose  current  credit  is  the 
screenplay  of  Otto  Preminger's  film. 
"The  Cardinal."  He  also  has  a  daugh- 
ter, Deborah,  15,  whose  mother  is  ac- 
tress Joan  Fontaine,  to  whom  Mr. 
Dozier  was  married  from  1946  to 
1950.  iP 


International  Projectionist        May  1964 


Equalizing   Sight 
and   Sound 

Continued    from    Page    4 


their  trust  in  focusing  scales  and 
marks  on  the  lens  barrel,  and  sel- 
dom bother  to  look  at  the  screen. 
The  "projectionists"  not  only  use 
their  eves  at  frequent  intervals,  but 
enlist  the  aid  of  low-power  binoculars 
or  screen  telescopes  when  their  pro- 
jector lenses  have  focal  lengths  longer 
than  5  inches. 


It  goes  without  saying,  of  course, 
that  bad  focus  is  not  always  the  pro- 
jectionist's fault.  A  conscientious  pro- 
jectionist really  suffers  when  a  "fuz- 
zy" print  comes  his  way.  The  projec- 
ted picture  can  never  be  clearer  than 
the  image  printed  on  the  film:  and 
the  larger  the  screen,  the  worse  an 
out-of-focus  picture  looks.  Excessively 
high  arc  currents  produce  out-of- 
focus  effects  by  aggravating  the  rap- 
id flutter  and  buckling  of  the  film  at 
the  aperture:  and  the  use  of  lenses 
under  4  inches  E.  F.  makes  the  pic- 
ture very  difficult  to  keep  in  focus. 
as  is  well  known  in  these  days  of 
VistaVision  and  cropped  apertures 
for  non-anamorphic  projection  upon 
wide  screens. 

These  unavoidable  causes  of  blur 
nevertheless  cast  no  aspersions  upon 
the  projectionist's  competence  when 
conditions  are  the  same  in  both  pro- 
jectors, as  they  should  be. 

The  use  of  different  makes,  models, 
or  "speeds"'  of  projection  lenses  in 
the  projectors  can  cause  sufficient 
difference  in  the  appearance  of  the 
pictures  projected  by  the  two  pro- 
jectors to  make  changeovers  percept- 
ible even  when  two  lenses  have  ex- 
actly the  same  focal  length.  It  is  ex- 
tremely unwise,  for  example,  to  use 
an  uncoated  lens  in  one  machine  and 
a  coated  lens  in  the  other.  The  pro- 
jectionist, in  such  a  case,  may  be  the 
victim  of  necessity;  but  such  a  state 
of  affairs  is  not  good  for  the  exhibi- 
tion business.  These  remarks  apply 
in  equal  force  to  CinemaScope  ana- 
morphic  attachments. 

Very  similar  to  this  is  the  use  of 
different  kinds  of  arc  mirrors  in  the 
two  lamps — or  even  one  new  and 
one  old  mirror  of  the  same  brand  and 
specifications.  Except  for  a  brief  per- 
iod of  testing  and  comparison,  a  dich- 
roic  I  "cold"  I  mirror  should  never  be 


paired  with  a  silver  mirror.  The  light 
from  one  machine  may  be  dimmer 
than  that  from  the  other,  and  of  a 
perceptibly  different  color  —  slightly 
more  yellowish,  bluish,  pinkish,  or 
greenish.  A  change  of  screen-light 
color  at  the  changeovers  is  most  no- 
ticeable during  the  showing  of  black- 
and-white  prints. 

Difference  in  arc-lamp  adjustment 
also  cause  mismatched  light,  but  the 
projectionist  should  not  rely  wholly 
on  the  tape-measure  and  the  align- 
ment rod.  necessary  as  these  aids  are. 
Small  differences  in  mirror  focal 
length,  arc  current,  mechanism  shut- 
ter transmission,  and  port-glass  trans- 
mittance  can  result  in  a  brighter  light 
from  one  machine  even  when  the 
geometric  focus  I  distance  from  the 
positive  crater  to  the  center  of  the 
mirror)  and  the  working  distance 
I  center  of  mirror  to  film  aperture  I 
are  the  same  in  both  machines,  and 
both  lamps  arc  in  perfect  optical 
alignment. 

1.  Nevertheless,  the  first  step  in 
equalizing   the  light   from   both  pro- 

Please   turn    to    Page   9 


CURTAIN  CONTROLS, 
TRACKS  and  SPECIAL 
OPERATING   DEVICES 

VALLEN,  Inc. 

AKRON  4,  OHIO 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


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Is  No  Spare  in  the  Booth 


For  want  of  an  extra  mirror, 
business  can  be  lost  by  shut- 
down. 


FIRST  SURFACE  COLD 
DICHROIC  REFLECTOR 

Better  yet,  also  replace  your  old  reflectors  now  with  these 
modern,  long -service  reflectors  with  the  harder  than  glass, 
flake  and  peel-proof  front  coating. 

THE  COATING  IS  GUARANTEED  FOR  2  YEARS! 


The 

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PARK   AVENUE    •    TOLEDO,    OHIO    43601     •    PHONE:   (419)   248-3741 


International  Projectionist        May  1964 


The  Covet  Stoty  .  .  . 

'Wrap-around'  Theatre  Amazes  Audiences 


Audiences  across  the  United 
States  and  as  far  distant  as  New 
Delhi.  India,  have  been  enjoying 
the  sensation  of  being  "inside"  a 
projected  motion  picture  instead  of 
just  looking  "at"  a  picture.  This 
effect  is  achieved  by  the  use  of  a 
lens  whose  angle  matches  the 
broad  angle  of  vision  of  the 
human  eye — plus  the  screen  which 
curves  around  and  above  the  spec- 
tators. 


Better  viewing  for  larger  audiences 
in  the  special  type  of  traveling  the- 
atre in  which  the  show  is  given,  how- 
ever, called  for  changes.  Under  the 
guidance  of  veteran  Jam  Handy  Or- 
ganization (Detroit)  projectionists, 
members  of  IATSE  Local  199,  the 
changes  were  made  to  effect  several 
improvements. 

The  standard  projector  was  given 
a  lower  base  so  that  the  equipment 
would  not  obstruct  the  view  of  any 


Because  of  the  optical  qualities  of  the  projected  image  on  a  hemispheric  screen, 
flat  photography  makes  tjhe  projection  appear  distorted.  Not  so  in  the  theatre, 
where  viewers  are  transported  via  three-dimensional  effeqt  to  any  place 
the  camera  leads. 


Spectators  at  the  World  Agricultural  Exposition  in  New  Delhi,  India,  registered 
appropriate  amazement  at  the  images  projected  by  a  prototype  "wrap-around" 
projector  on  an  hemispheric  screen.  Recent  improvements  by  Detroit's  Jim  Handy 
Organization  have  made  the  projection  system  suitable  for  large  enclosures. 


of  the  175  spectators  who  now  can 
be  seated  in  the  Wrap-Around  The- 
atre. Projection  is  done  close  to  the 
screen  because  of  the  optical  qualities 
of  the  lens.  The  theatre  is  a  large 
portable  dome  that  is  easily  trans- 
ported and  inflated  with  compressed 
air  on  a  show  site  in  quick  time. 

The  top  magazine  also  now  is  in- 
stalled below  the  lens,  instead  of  on 
top  of  the  projector.  The  exhaust, 
which  was  on  top  of  the  projector, 
now  is  below;  only  clean,  warm  air 
escapes  from  a  filter. 

So  the  projectionist  may  operate 
the  projector  while  seated  and  out  of 
the  way  of  front-row  spectators;  re- 
wiring of  all  controls  also  had  to  be 
done. 

The  Wrap-Around  system  has  an 
interesting  history,  going  btck  to  the 
day  during  World  War  II  when  the 
Navy  called  on  Jamison  Handy,  now 
president  of  The  Jam  Handy  Organ- 
ization, to  help  create  a  lens  that 
would  simulate  natural  human  ob- 
servation as  realistically  as  possible 
by  means  of  motion  pictures. 

The  need  was  urgent,  because  new 
developments — such  as  aircraft  mov- 
ing at  vastly  greater  speeds  than  ever 
before — called  for  a  new  training  de- 
vice with  a  much  greater  angular 
view  of  sky  and  earth.  The  final  de- 
sign of  the  lens,  which  contains  11 
elements  of  glass  of  different  com- 
position, required  more  than  a  year 
of  computations  by  optics  engineers 
and  mathematicians. 

A  lens  similar  to  the  projection 
lens  is  also  used  in  the  making  of  the 
picture,  so  there  is  no  distortion  when 
the  picture  is  projected  on  the  hemi- 
spheric screen.  Obviously,  any  photo 
taken  of  the  Wrap-Around  Theatre  in 
operation  shows  distortion;  but  that 
is  not  the  way  the  picture  is  seen  by 
the  audience. 

The  spectators  travel  along,  so  they 
feel,  on  highways,  on  roller  coasters, 
under  Niagara  Falls,  or  wherever  the 
Wrap-Around  cameramen  take  them. 
The  result  is  a  "you  are  there"  and 
perfectly  natural,  if  thrilling,  visual 
experience.  The  latest  picture  that  is 
being  used  is  appropriately  titled  "Ex- 
citement." iP 


International  Projectionist        May  1964 


Trailer  Hailed 
Great  Assist  To 
Theatres,  Dealers 

Theatre  patrons,  managers  and 
equipment  dealers  are  responding  en- 
thusiast icall)  to  the  new  35mm  "talk- 
ing" trailer  produced  by  Strong  Elec- 
tric Corporation  for  theatres  instal- 
ling the  new  Futura  projection  arc- 
lamps. 

The  trailer  calls  attention  to  the 
great  improvement  in  the  brilliance 
of  the  projected  picture,  "takes  the 
patron  into  the  projection  room", 
showing  the  installation,  depicts  l>\ 
means  of  a  split  screen  effect  the  ex- 
tent of  the  increase  in  brilliance,  and 
then  extends  an  invitation  by  the  man- 
agement to  the  patron  to  see  the  lamps 
in  actual  operation  in  the  projection 
room. 

Theatre  men  say  that  the  trailer 
creates  much  good  will  among  the 
patronage  by  extending  the  invita- 
tion to  see  the  new  lamps  and  by  em- 
phasizing their  efforts  to  keep  equip- 
ment up  to  date  for  the  better  view- 
ing and  greater  pleasure  in  film  offer- 
ings. Patrons  seem  to  gain  apprecia- 
tion of  the  theatre's  efforts  toward 
that  end  and  more  respect  for  the  fi- 
nancial investment  involved  in  up- 
grading. 

Equipment  dealers  say  that  avail- 
ability of  the  trailer  shows  appreci- 
ation of  the  purchase  and  indicates 
the  dealer's  continuing  interest  in  the 
theatre    after    the    purchase.    Theatre 


Altec  Engineers  Checked  Our  on  Century 


Contrasts  in  clarity  of  projection  are 
obvious   in   the   Strong   trailer. 

managers  also  see  their  dealer  as  be- 
ing interested  in  helping  "sell''  the 
new  equipment  to  his  patrons  and  so 
increase  boxoffice  as  to  make  the 
purchase  even  more  profitable. 

The  trailer  is  available  at  no  cost 
to  all  theatres  installing  Futura  lamps. 
Arrangements  for  a  2-week  booking 
can  be  made  by  addressing  a  request 
to  The  Strong  Electric  Corporation. 
76  City  Park  Avenue.  Toledo.  Ohio 
43601.  iP 

International  Projectionist 


Altec  service  engineers  recently  completed  training  sessions  at  the  Century  Pro- 
jector Corp.  factory  in  Long  Island  City.  The  workshop  covered  all  Century's 
domestic  projectors  and  the  firm's  all-transistor  sound  systems.  Pictured  (left  to 
right)  are  Altec  engineers  Hans  Newberger,  Russell  R.  Giveans,  Harry  Randel, 
F.  W.  "Bill"   Boettcher,   Joseph   Raho,   Doug   McLean   and   Ralph    Siegal. 


Equalizing    Sight 
and    Sound 

Continual    from     1'irj.c     7 

jectors  is  to  line  up  the  lamps  accord- 
ing to  the  manufacturer's  instruction-, 
and  with  his  recommended  alignment 
tools  (available  through  dealers  and 
service  companies  I.  The  centers  of 
the  mirror,  arc  crater,  light  cone,  pro- 
jector aperture,  and  projection  lens 
will  then  all  lie  on  the  same  straight 
line — the  optical  axis.  —  and  the 
suggested  optimum  focus  and  work- 
ing distances  will  have  been  estab- 
lished. 

2.  The  individual  arc  currents  are 
then  checked.  Trim  both  lamps  with 
new,  dry  carbons,  making  certain 
that  you  have  the  same  positive  and 
negative  carbon  protrusions  bevond 
the  burner  jaws  in  both  lamps.  "Burn 
in"  both  lamps  for  about  a  minute, 
establish  the  same  arc  gap.  and  note 
the  current  consumed  by  each  by 
reading  the  ammeter.  The  difference, 
if  any.  should  not  exceed  2  or  3 
amperes.  If  a  greater  difference  in 
current  consumption  exists,  and  it 
is  certain  that  the  ammeters  are  read- 
ing correctly,  adjustments  should  be 
made  in  the  rectifier  transformers  or 
the  motor-generator  ballast  rheo- 
stats. 

3.  Project  blank  light  to  the  screen 

April,  1964 


i  both  projectors  running,  but  with- 
out film  I  and  change  over  from  one 
machine  to  the  other  several  times  in 
rapid  succession  to  detect  visible  dif- 
ferences  in   the  brightness,   distribu- 


0.006 


Z72.5     f 
3" LENSe 


60%-- 


Average 
depth  of  focus 


£_ 


Relative    light 
transmission 


-0.004 


FIG.  1 — Lenses  of  different  speeds 
have  different  light  transmissions  and 
different  optical  characteristics  even 
though  their  equivalent  focus  (E.F.) 
is  the  same.  The  lenses  in  a  2-projec- 
tor  installation  should  therefore  be 
identical  in  speed,  type,  and  make  as 
well  as  in  E.F. 

tion,  or  color  of  the  screen  illumi- 
nation. The  most  exact  determina- 
tions require  the  use  of  a  light  meter 
or  photographer's  exposure  meter, 
but  the  equalization  is  close  enough  if 
no  difference  can  be  detected  visually. 

Arc  Focus 

and  Color  of  Light 

If   a   difference   can   be   seen,   the 
working    distance    of   the    mirror    in 
Please   turn    to   Page   18 


Walter  Reade/Sterling  Opens  Um 

Art  Gallery,  Split-level 
Entry  Featured  in  New  House 


New  directions  in  theatre  design  are 
very  much  in  evidence  at  the  Con- 
tinental, a  new  first  run  house  in  the 
Forest  Hills  Section  of  Long  Island, 
opened  recently  by  Walter  Reade/ 
Sterling,  Inc. 

Featuring  a  split-level  entrance  and 
its  own  roof  top  parking  facility,  the 
Continental  seats  600  and  specializes 
in  quality  foreign  and  domestic  films. 

Built  as  part  of  a  $5,000,000  ex- 
pansion program  which  includes  two 
other  new  deluxe  theatres  in  New 
York  City,  and  one  in  Camden,  N.J., 
the  Continental  was  opened  March 
20th. 

The  dominant  interior  innovation 
is  the  split-level  construction.  Patrons, 
upon  entering  the  theatre  foyer,  have 
the  choice  of  walking  down  a  short 
flight  of  stairs  to  the  orchestra  level, 
or  up  a  short  flight  of  stairs  to  the 
twin  mezzanine  sections.  This  is  sim- 
ilar to  entering  a  conventional  split- 
level  home,  where  stairs  lead  down 
to  the  family  room,  and  up  to  the 
living  quarters. 

The  patron  may  also  drive  his  car 
up  a  ramp  along  one  outer  wall  of  the 
theatre  to  the  roof  atop  of  the  sec- 
ond story  of  the  building,  where  there 
are  accommodations  for  300  cars.  A 
special  roof-top  entrance  brings  him 
right  into  the  theatre  lobby. 

The  unique  theatre  building  was 
designed  by  House  and  Bresin, 
A.I.A.  architects  of  Jackson  Heights, 
L.I.,  with  John  J.  McNamara,  A.I.A., 
as  consulting  architect  for  the  interior 
theatre  construction. 

Like  Walter  Reade/Sterling's  Cor- 
onet Theatre  in  Manhattan,  the  Con- 
tinental also  has  an  art  gallery  in 
it's  lounge,  where  local  artists  and 
sculptors  display  and  sell  their  work. 
The  lounge  is  reached  by  a  separate 
stairway  off  the  foyer,  and  also  con- 
tains facilities  for  serving  coffee  to 
patrons.  There  are  rest  room  facili- 
ties both  off  the  main  lounge,  and  the 
mezzanine  lounge.  The  manager's  of- 

10 


Sol  Rosenberg,  a  projectionist  at  the  new  Continental  Theatre  in  Forest  Hills, 
Long  Island,  is  shown  loading  the  theatre's  35mm  Century  projectors,  which  are 
equipped  to  reproduce  multi-channel  audio. 


fice  is  located  at  the  rear  of  the  or- 
chestra entry  lounge. 

The  mezzanine  has  been  split  by 
projection  booth  facilities.  On  either 
side  of  the  booth  are  seating  for  60 
persons  in  six-row  depth.  All  seats 
are  Griggs  push-back  on  the  orchestra 
floor,  and  Griggs  spring-back  in  the 
mezzanine.  Blue  is  the  main  color 
throughout  the  theatre.  The  orchestra 
seats  are  all  white,  and  those  in  the 
mezzanine  have  white  frames  with 
blue  covering. 

Especially  woven  Kharagheusian 
blue  carpeting  is  used  through  the 
theatre.  All  interior  decorations  were 
furnished  by  Doolittle- Allen  Company 
of  Trenton,  N.J.  The  marquee  was 
erected  by  Artkraft  Strauss,  utilizing 
Adler  plastic  snap-lock  letters.  The 
screen  is  a  22  foot  by  44  foot  seam- 
less Technicoat  Pearlite,  with  mobile 


masking    permitting    adjustment    to 
any  35mm  ratio. 

Another  feature  of  the  theatre  is 
an  Austrian  shade  contour  curtain, 
which  like  the  wall  treatment,  uti- 
lizes Blue  Bengaline  material.  Un- 
like most  theatres  where  the  curtain 
draws  to  the  sides,  the  Austrian  cur- 
tain rises  in  folds  from  the  floor  to 
the  top  of  the  masking. 

Sound  and  projection  were  furn- 
ished by  Joe  Hornstein  Company,  uti- 
lizing Century  projectors  and  transis- 
tor multi-channel  sound.  The  theatre 
can  project  all  35mm  wide-screen 
processes. 

Located  near  the  center  of  Forest 
Hills,  the  Continental  was  the  Walter 
Reade/Sterling  organization's  first 
house  in  the  rapidly-growing  Queens 
Borough  of  New  York  City.  iP 


International  Projectionist        May  1964 


Theatre  in  Long  Island 


Departing   from   the   traditional   "box   office,"    the   Continental    vends    its   tickets 
from  this  attractive  semi-circular  counter  just  inside  the  front  entrance. 


d 


This  is  the  unique  "split  level"  entrance  of  the  Continental.  After  obtaining  their 
tickets,  patrons  can  choose  between  walking  up  to  the  balcony  level  or  down  a 
few  steps  to  the  orchestra. 

International  Projectionist        May  1964 


"Demountable' 
Seats  Premiered 
In  California 

A  new  instantly  demountable 
spectator  luxury  seat  which  provides 
multi-purpose  use  of  theatre-in-the- 
round  seating  areas  is  now  in  use  on 
the  Pacific  Coast.  It  is  a  product  of 
Pacific  Seating  Corp..  San  Pedio. 
Calif. 

Among  the  first  installation  of  the 
new  "Demountables"  is  at  the  Valley 
Music  Theater  in  the  San  Fernando 
Vallev  near  Hollywood. 

In  addition  to  their  portability  fea- 
tures "Demountables"  provide  the 
widest  upholstered  chair  now  on 
the  market  —  adding  an  extra  3"  of 
seating  space  to  every  chair. 

One  man  can  disassemble  and 
stack  100  "Demountables"  in  a  single 
hour,  the  company  states.  The  chairs 
and  mounting  units  can  be  reassem- 
bled  just  as  quickly  iP 

Altec   Anounces 
New  Managerships 

R.  E.  Pierce.  Operating  Manager 
of  Altec  Service.  Corp.,  recently  an- 
nounced the  two  new  following  ap- 
pointments: 

Fred  Hall  is  now  Manager  of  the 
Northeastern  Division  of  Altec,  with 
Jack  Gnirrep  acting  as  Mr.  Hall's 
assistant.  The  Northeastern  Division 
covers  the  greater  New  York  area, 
part  of  New  York  State,  and  all  of 
the  New   England  states. 

Jim  Eves  has  been  elevated  to 
Manager  of  the  Eastern  Division. 
This  Division  serves  part  of  New 
York  state,  New  Jersey,  Pennsylvania, 
Maryland,  the  District  of  Columbia 
and    Virginia.  iP 

Automatic  Devices 
Acquires  Ohio  Firm 

Automatic  Devices  Co.,  Allentown, 
Pa.,  manufacturer  of  stage  and  dra- 
pery tracks  and  curtain  machines, 
recently  announced  it  has  taken  over 
the  facilities  of  Vallen,  Inc.,  of 
Akron.  Ohio.  The  Akron  firm  pro- 
duces a  similar  line  of  products. 

According  to  company  officials,  all 
the  combined  facilities  will  be  con- 
solidated in  an  enlarged  Allentown 
plant.  The  acquistion  will  require  a 
50  per  cent  expansion  in  floor  space, 
according  to  Automatic  Devices, 
President,  Abram  Samuels.  iP 

11 


Skouras  Theatres 
Opens  New  House 
In  Shopping  Center 


Skouras  Theatres  have  opened  a  new  900-seat  house 
in  Wayne,  N.  J.,  at  the  Preakness  Shopping  Center.  The 
new  theatre,  named  appropriately  for  the  city  in  which  it 
is  located,  was  erected  at  a  cost  of  $265,000. 

The  air-conditioned  auditorium  is  decorated  in  blue 
and  white,  a  color  scheme  begun  in  the  lobby  and  foyer. 
Stage  curtains  are  gold;  auditorium  seats  are  in  blue 
and  gold. 

In  the  projection  booth  are  two  Simplex  XL's,  with 
Ashcraft  Corelit  lamps  and  rectifiers.  The  sound  system 
is  Ampex  multichannel  magnetic  and  optical. 

Architect  Drew  Eberson  gave  the  building  a  varie- 
gated color  fieldstone,  granite  and  glass  facade,  and 
integrated  the  interior  to  provide  a  smooth  flow  of  traffic 
through  the  various  areas  leading  to  and  from  the 
auditorium.  The  Wayne's  concession  stand  is  in  walnut, 
and  stands  in  a  lobby  whose  floor  is  in  black  flagstone 
and  carpeting. 

Downlighting  in  lobby  and  foyer  accent  the  soft  blue 
and  white  vinyl  wall  covering.  The  accompanying  photos 
are  views  of  the  new  Skouras  house. 

The  grand  opening  was  held  early  this  year,  and 
featured  the  showing  of  "Four  for  Texas." 


Bold    block    letters,    backlighted    on    the    marquee    of    the 
Wayne   Theatre,   attract    shoppers    and    passing    motorists. 


A  bright  setting  combines  with   modern   appointments  to 
make  the  Wayne  Theatre's  lobby  most  attractive. 


Two  Simplex  XL's,  with  Ashcraft  rectifiers  and  lamps, 
serve  the  new  Wayne  Theatre  in  the  Preakness  Shopping 
Center,   Wayne,   N.   J. 

12 


Polished  wood  backs  of  the  auditorium  seats  lend  rich  con- 
trast to  the  blue  and  gold  decor.  The  "business  end"  of 
the  seats  are  deep  cushion   upholstery,  however. 

International  Projectionist        May  1964 


Investment  Opportunity 


The  plant  your  company  builds  in  1984  will  be  designed 
by  this  youngster. 

But  long  years  of  training  must  come  first.  Years  of 
patience,  love  and  planning.  Years  of  peace  and  free- 
dom. For  in  any  but  a  free  and  stable  society,  how  can 
young  people  develop  into  the  responsible,  productive 
citizens  our  country  needs? 

You  have  an  investment  in  this  boy. 

To  protect  this  investment,  you  can  join  with  other 
leading  American  businessmen  to  promote  the  Treas- 
ury's Payroll  Savings  Plan  for  United  States  Savings 
Bonds.  The  Treasury  Department's  Plan  works  for 
stability  in  our  economy  .  .  .  strength  in  the  defenses  of 


our  liberties  .  .  .  prudence  and  industry  in  our  thinking. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll — 
you  are  investing  in  all  the  children  who  dream  of  some- 
day working  in  steel  and  stone  and  space  to  make  our  land 
more  beautiful  and  more  productive.  You  are  investing 
in  the  builders  of  our  tomorrow,  in  America's  future. 
In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director. 

Or  write  today  directly  to  the  Treasury  Department, 
United  States  Savings  Bonds  Division,  Washington, 
D.C.,  20226. 


tftfr      in  your  P|ant--- promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS 

'"est**1* 

The  U.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism,  The  Advertising  Council  and  this  magazine* 


In  response  to  many  requests  from  readers,  Inter- 
national Projectionist  has  secured  additional  infor- 
mation on  the  Wonderama  process  described  in  an 
earlier  issue.  Intended  for  use  in  smaller  theatres, 
Wonderama  (formerly  called  Arc  120)  is  the  inven- 
tion of  Leon  W.  Wells,  and  has  been  developed  by 
Leon  J.  Bronesky. 


Leon  Bronesky,  developer  of  the  Wonderama  process  from 
an  invention  of  L.  W.  Wells,  is  shown  adjusting  the  adapt- 
er lens  on  standard  projection  equipment  at  the  Strand  The- 
atre, Plainfield,  N.  J. 


"With  the  Small  Theatre  in  Mind"  ... 

Wonderama  Augments  Capabilities 


The  incontrovertible  fact  that 
"Movies  Are  Getting  Better  All  the 
Time"  is  further  reinforced  by  a  new 
process  described  briefly  in  a  recent 
issue  of  International  Projectionist, 
and  known  as  Wonderama. 

Contrary  to  the  initial  fears  of 
some  in  an  industry  which  is  becom- 
ing "process-oriented,"  Wonderama 
is  not  a  new  entry  to  compete  with 
Cinerama,  Dimension  150,  or  any 
other  wide-screen  process.  It  has  been 
designed  specifically  with  the  small 
theatre  in  mind,  according  to  its  de- 
veloper, Leon  J.  Bronesky,  and 
Walter  Reade/Sterling,  holder  of 
Wonderama   rights. 

Walter  Reade  Jr.,  chairman  of 
Walter  Reade/Sterling,  said  at  a  re- 
cent demonstration  at  his  company's 
Strand  Theatre  in  Plainfield,  N.  J. 
that  total  conversion  would  cost  ap- 
proximately $3,000.  The  specialized 
lens  is  intended  to  be  lent  exhibitors 
by  distributors  handling  Wonderama 
films. 

Reade  said  the  Wonderama  process 
charges  10  cents  royalty  for  every 
ticket  sold,  no  matter  what  the  price 
of  the  seat  may  be. 

He  said  the  Strand's  per  ticket 
price  of  $1.25  had  increased  for 
"Mediterranean  Holiday"  to  $1.50, 
and  that  he  expected  the  picture 
would  run  about  six  weeks,  in  com- 
parison to  two  or  three  weeks  for  an 
unusually  strong  feature. 

Any  35  or  70mm  film  can  be  re- 
produced optically  for  the  Won- 
derama lens,  at  a  cost  similar  to  that 
for  printing  a  standard  35mm  film. 

14 


The  original  negative  is  returned  un- 
affected. 

The  Strand  Theatre  has  a  deep- 
curved  screen — 61  feet  wide  and  21 
feet  high.  The  Strand  shows  "Medi- 
terranean Holiday"  at  2.65  to  1  as- 
pect  ratio   picture   on   the   screen. 

To  replace  a  flat  or  slightly  curved 
screen  with  a  deep-curved  screen  can 
be  done  between  the  close  of  a  night 
performance  and  the  start  of  the 
next  night  performance.  The  screen 
can  be  adapted  in  about  six  hours; 
the  lens  can  be  adapted  to  any  pro- 
jector in  approximately  the  same 
time.  In  this  way  the  theatre  owner 
need  not  interrupt  normal  operation. 

The  Strand's  Simplex  X-L  pro- 
jectors and  Ashcraft  lamphouses  were 
used  in  the  normal  140-ft.  throw  for 
the  Wonderama  presentation.  All  that 
requires  attention  in  most  theatres 
is  the  lens  and  screen  variations. 

Lenses  are  now  available  for  im- 
mediate    "Mediterranean     Holiday" 


Available  by  arrangement  with  distri- 
butors, l)he  Zeiss  Ikon  Wonderama 
lens  adapts  standard  projection 
equipment  for  use  with  Wonderama 
films. 

bookings.  These  lenses  are  being  tool- 
ed and  ground  by  Zeiss  Ikon  works 
in  Germany.  Walter  Reade/Sterling 
is  now  negotiating  with  an  American 
firm  to  make  the  lenses.  iP 


The  Wonderama   image,  and   how   it   is  projected,   is   portrayed   in   the   outline 
drawing  above. 

International  Projectionist        May  1964 


Century  Introduces  New 
10-hole  Pull  Down  Projector 


35  and  70mm 


Centurv  Projector  Corporation  re- 
centlj  announced  a  new  70mm.  10- 
hole  pull  down  projector. 

The  Spacearium  Projector,  design- 
ed and  manufactured  bv  Centur\.   is 


one  of  the  most  unique  projector  ever 
used    for    the    public    exhibition    of 

motion   pictures.     I  he   projector    »a> 
made  for  Cinerama   Inc.  and   is  used 


'        A*t  i  i  ri  A   II         ■  ■    ...... 


,N  ,^- 


/    s. 


ZJ^m^-^^S^ 


These  illustrations  compare  the  aver- 
age small  theatre  screen  (top)  and  the 
required  adaptation  for  Wonderama 
(bottom). 


Optical  handling  of  the  dual  film 
used  in  Wonderama  is  represented  in 
this  illustration. 


in  the  Cinerama-kLM  Royal  Dutch 
Airlines  Exhibit  at  the  New  York 
World's    Fair. 

ReportedU  the  largest  motion  pic- 
ture projector  ever  built,  the  Space- 
arium uses  70mm  film  with  a  10 
perforation  frame  (1.870"  -  twice 
normal  size  I .  Film  speed  is  twice 
normal  —  or  225  feet  per  minute  at 
21  frames.  As  used  at  the  Worlds 
Fair,  it  projects  18  frames  per  second, 
equal  to  a  film  speed  of  L68.75  feet 
pel    minute. 

Six-channel   Sound 

The  projected  is  complete  with  a 
6-channel  magnetic  sound  reproducer 
employing  the  ahead)  proven  Hy- 
draulic Flutter  suppressor,  as  modi- 
fied from  a  Century  standard  70mm 
sound  reproducer.  \  6-channel  \m- 
|m\  magnetic  pick-up  head  is  used. 

Tin-  film  sprockets,  including  the 
intermittent  sprocket,  an-  double  the 
size  of  standard  70mm  sprockets,  [he 
webbed  back  starwheel  is  the  same 
a>    is    used    in    standard    70-35mm 

projectors. 

The  new  Centur]  direct  drive  is 
used  with  a  pol\   "V"  bell   from  the 

V4  hp.  motor  to  the  main  drive  shaft 
which  rotates  it  1  I  lo  UPM  in  syn- 
chronism with  the  double  rear 
shutters. 

The  water-cooled  film  trap  and  the 
film  gate  are  designed  to  handle  the 
larger  (circular)  aperture  plate.  A 
unique  feature  added  to  the  intermit- 
tent movement  is  a  film  stabilizer  - 
operating  independently,  but  in  con- 
junction with  the  "fixed  film  trap 
and  izate  shoes. 

Loop   Stabilizers 

At  this  high  film  speed  and  great!) 
enlarged  film  loops,  special  mechan- 
ical film  loop  stabilizers  are  employ- 
ed, thereby  minimizing  film  loop 
noise. 

The  gear  train  has  been  generally 
patterned  after  the  design  of  the  Cen- 
tury 70-35mm  projector.  Changes  in 
the  gear  train  have  been  made,  where 
necessarv.  to  accommodate  larger 
sprockets  and  facilitate  higher  film 
speeds. 

The  higher  film  speeds  I  feet  per 
minute  I  require  a  special  motor 
driven  take-up.  This  take-up  is  essen- 
tially the  same  as  is  used  on  the  Cen- 
tury standard  70mm  projectors, 
except  that  it  is  separately  motor 
driven.  The  take-up  motor  can  be 
turned  on  prior  to  starting  the  pro- 
Please    turn    to    Page    17 


■  J  _m1 

'  -,y— —  — -    * 


1 


:m^WI 


International  Projectionist         May  1964 


Eastman  Kodak 
Fair  Pavillion 
Pulling  Crowds 

One  of  the  most  popular  and 
well-attended  exhibits  at  the  New 
York  World's  Fair  is  quite  obviously 
going  to  be  the  Eastman  Kodak 
Pavilion.  This  was  made  abundantly 
clear  at  a  preview  of  the  Pavilion 
given  representatives  of  the  press  at 
the  Fair  grounds  a  week  before  the 
official  opening  on  April  22. 

In  spite  of  the  drizzling  rain  that 
refused  to  cease  except  at  rare  inter- 
vals, a  large  contingent  of  the  press 
turned  out  for  the  advance  tour. 
And  they  were  vocally  impressed  by 
the  wealth  of  exciting  and  informa- 
tive things  to  observe  and  hear  in 
the  Kodak  Pavilion. 

Foot-long    Goldfish 

The  Pavilion  itself  is  a  two-level, 
free-form  structure  some  400  feet 
long  and  over  200  feet  wide.  The 
lower  level  is  open  on  all  sides  and 
houses  the  main  motion  picture  the- 
atre, numerous  exhibit  areas  and 
various  plants  and  sculptured  foun- 
tains (complete  with  goldfish  at  least 
a  foot-long)  and  several  rest  areas. 

The  upper  deck,  reached  by  several 
staircases,  contains  another  theatre, 
rest  areas  and  some  fascinating  walk- 
wavs  open  to  the  sky  where  visitors 
will  be  able  to  take  pictures  against 
unique  backgrounds,  including  a 
"moonscape"  and  a  panoramic  view 
of  the  Fair  itself. 

This  upper  deck  is  topped  by  a  cir- 
cular picture  tower  surrounded  by 
five  huge  color  prints,  each  of  which 
measures  30  by  36  feet.  The  tower  is 
illuminated  day  and  night  by  a 
special  lighting  system  and  is  visible 
from  afar  as  one  approaches  the  Fair 
grounds. 

Film    Featured 

A  major  attraction  of  the  Kodak 
Pavilion  is  a  new  20-minute  film 
called  "The  Searching  Eye,"  which 
the  press  was  shown  in  the  ground 
level  theatre  upon  arriving  at  the 
Pavilion.  The  picture  was  produced 
by  Saul  Bass  &  Associates  of  Holly- 
wood and  takes  as  its  theme,  in  the 
words  of  Bass  himself,  "the  idea  of 
seeing." 

To  carry  this  out  Bass  devised  this 
scheme:  A  10-year-old  boy  walks 
along  the  beach  and  observes  the 
ocean,  pebbles,  sea  birds,  sand  castles 
and  other  sights,  and  his  responses  to 
them  are  of  wonder  and  delight.  The 
point  is  made  that  man  learns 
through  his  experiences  with  nature 

16 


New  Equipment  for  Hollywood's  Cinerama  Dome 


Installation  of  the  first  three  Ventarc  hmps  and  associated  Strong  rectifiers  for  the 
projection  of  the  new  single  lens  Cinerama  system  was  recently  made  at  Pacific 
Theatre's  Cinerama  Dome  Theatre,  Hollywood.  Shown  in  the  projection  room  is 
chief  Projectionist  Tom  Ginther,  IATSE  Local  150  (Theatre)  and  IATSE  Local 
165  (Studio),  who  has  been  a  projectionist  in  Hollywood  since  1934.  Twenty  two 
more  of  these  blown  arc  type  lamps  are  being  installed  for  this  form  of  exhibition 
in  other  cities  throughout  America.  The  Ventarc  lamps  and  rectifiers  were  sold  by 
National  Theatre  Supply. 


and    at   the    same    time    acquires    an 
acceptance  of  reality. 

Tour  de   Force 

The  theme  is  developed  in  poetic 
fashion  with  brilliant  imagery,  and 
most  impressive  are  the  cinematic 
devices  that  Bass  has  employed. 
Through  masking,  the  large  screen 
on  which  the  picture  is  projected 
changes  shape  from  a  smallish  tri- 
angle to  the  full  width  of  a  70mm 
image.  Cameras  were  taken  under 
water  as  well  as  in  the  air,  and  other 
techniques  employed  include  a  split 
screen  (on  occasion  into  six  parts) 
and  "time-lapse"  photography  to 
show  flowers  grow  from  a  bud  into 
full  bloom  in  seconds.  "The  Search- 
ing Eye"  offers  the  viewer  an  extra- 
ordinary experience  —  it  dazzles  the 
eye  and  stirs  the  imagination. 

A  second  film  is  shown  in  the 
Dome  theatre  on  the  second  level. 
This  takes  the  audience  "inside"  the 
atom  and  demonstrates  how  modern 
chemistry  "makes  the  good  things  in 
life  even  better." 

Highlights  of  the  exhibit  area  on 
the  ground  level  are  as  follows: 

A  display  of  photographic  equip- 
ment in  the  Information  Center. 

An   "Adventures  in   Photography" 


exhibit  in  which  the  amateur  photo- 
grapher is  shown  how  to  improve  his 
technique. 

An  actual  model  of  the  Tiros  wea- 
ther satellite  to  demonstrate  the  part 
that  space  photography  plays  in 
round-the-world  weather  forecasts. 

An  exhibit  called  "The  History  of 
Photography"  which  contains  objects 
on  loan  from  the  George  Eastman 
House  collection  in  Rochester. 

And  so  on.  What  the  narrator  of 
"The  Searching  Eye"  says  of  life 
itself  could  apply  to  the  Kodak  Pavil- 
ion —  "So  much  to  see,  so  much  to 
learn,  so  much  to  know."  iP 

Kollmorgen  Releases 
New  Lens  Catalog 

The  Kollmorgen  Corporation  has 
just  released  its  new  Projection  Lens 
Catalog,  #K  7-01.  The  new  brochure 
includes  descriptions  of  the  new  short 
focal  length  lenses,  under  2  inches, 
and  the  new  "Magna-Com"  focal 
length  adapter  of  2.78  inches  di- 
ameter. The  Kollmorgen  4  inch  dia- 
meter lenses  have  been  tested  and 
recommended  for  70  mm  use  and  are 
already  being  applied  successfully  by 
many  projectionists  for  70  mm  in- 
stallations. iP 


International  Projectionist        May  1964 


Spocearium 

Continued    from    Pirie    15 

jector,  thereb\  keeping  film  locps 
constantly  under  tension,  anil  helping 
to  prevent  film  breakage. 

V  special  \shcraft  Super  Cinex 
Are  Lamp  is  used  with  the  Space- 
arium  Projector.  Because  of  the 
closely  controlled  air  flow  and  arc 
stabilization,  operation  ol  carbons  in 
a  vertical  position  is  entirely  satis- 
factory. Special  precautions  are 
taken  to  collect  the  copper  drippings 
and  prevent  them  from  falling  on  the 
Bausch  &  Lomb  Balcold  Reflectors. 

The  projectors  as  used  at  the 
World-  lair  are  mounted  to  project 
vertically  with  a  special  lens  supplied 
by  Cinerama.  This  lens  projects  a 
360°  picture  onto  a  complete  hemi- 
sphere. I  The  included  angle  from 
one  side  of  the  picture  to  the  other 
is  160°.) 

Obviously,  the  screen  is  in  tin- 
form  of  an  overhead  dome  -  giving  a 
360'  image.  If  the  projector  were  to 
be  used  in  a  horizontal  position  a 
complete  visual  angle  of  160  hori- 
zontally and  vertically   i-  possible. 

Century  believes  that  this  new 
projector  marks  another  milestone  in 
motion  picture  history  and  adds 
another  first  to  Century  Projector 
Corporation  -  contributions  to  motion 
picture  engineering  advancements. 

IP 


America's 
headquarters 

lor  all 
theatre  equipment 


supplies 


+I.TS- 


National 

THEATRE  SUPPLY  COMPANY 


International  Projectionist 


India  Depends 
Increasingly  Upon 
Its  Own  Films 


In  1963,  a  total  of  298  feature 
films  were  produced  and  certified  for 
exhibition  in  India,  compared  to  312 
in  1962,  and  a  record  320  in  1960. 
the  Scientific.  Photographic  and  Bus- 
iness Equipment  Division.  Business 
and  Defense  Services  Administration 
reported  recently . 

Kle\en  full-length  color  films  were 
completed  in  1963;  however,  industry 
sources  report  that  approximated  50 
color  films  are  currently  under  pro- 
duction with  about  20  expected  to  be 
completed  in  1901.  The  demand  for 
color  films  is  increasing,  both  for 
domestic  screening  and  for  export. 
despite  their  higher  cost. 

Production  costs  for  feature  films 
rose  about  20',  in  1003  and  are  ex- 
pected lo  rise  even  more  in  100-1-  be- 
cause of  higher  fees  for  top  stars  and 
an  all-round  increase  in  wages  and 
material  costs.  Many  producers  con- 
tinue to  experience  difficulties  in 
raising  funds  for  film  production. 

Overall  film  production  in  1964  is 
not    expected    to   vary    greatly    from 

recent    sears.    Despite  India's  position 


as  one  of  the  world's  largest  movie 
producers,  revenue  from  exports 
remains  fairly  small,  amounting  to 
about  $2.5  million  during  the  first  9 
months  of  1963  and  about  $3  million 
for  all  of  1962. 

Of  136  foreign  feature  films  im- 
ported into  India  in  1963,  United 
States  films  accounted  for  65,  the 
U.S.S.R.  19,  United  Kingdom  15, 
Italy  14.  with  23  coming  from  other 
countries.  This  was  a  sharp  drop 
from  the  221  foreign  films  imported 
in  1902.  of  which  144  were  from  the 
United    States.  iP 


ASH  CRAFT 

CORE-LIGHT 

SUPER  CINEX 

CINEX  SPECIAL 

PROJECTION  LAMPS 

And 

HIGH  RECTANCE 

MULTI-PHASE 

RECTIFIERS 

World's  Standard  of 
Projection  Excellence 


There's    Plenty    for    You    At 

CENTURY! 

.  .  and  from  CENTURY  only 


dramatic,  New  ALL  TRANSISTOR 
sound  systems 


'True   high-fidelity, 

distortion  free. 
rLow  installation  cost, 

minimum  space  needs. 


*  Increased    reliability, 
less   maintenance. 

*No  vacuum  tubes,  no 
photoelectric  cells. 


and  the  only  American-made  70  mm  35 
theatre  projection  systems 


SEE 

YOUR  CENTURY 

DEALER 


...  for  bigger,  brighter  projection. 

PROJECTOR  CORP. 


New  York  19,  N.  Y. 


May  1964 


17 


Equalizing  Sight 
and  Sound 

(Continued  from  page  9) 
the  "dim"  lamp  should  be  adjusted  by 
trial  and  error  to  see  if  shortening  or 
lengthening  this  distance  by  small 
increments  steps  up  the  brightness  to 
the  level  obtained  with  the  other 
lamp.  (It  may  be  necessary  in  the 
case  of  some  lamps  to  move  the 
entire  lamphouse  forward  and  back 
on  the  projector  lamp  table.)  As  a 
rule,  moving  the  mirror  closer  to 
the  mechanism  distributes  the  light 
more  evenly  over  the  screen;  mov- 
ing it  farther  away  increases  the 
brightness  at  the  center  of  the  screen. 
The  arc  (crater)  position  must  be 
readjusted  each  time  the  working 
distance  is  changed,  of  course;   and 


FIG  2 — The  light  transmission  of 
a  2-blade  shutter  depends  upon  the 
angular  width  of  the  blades,  measur- 
ed with  a  protractor.  The  shutters 
in  both  projectors  of  an  installation 
should  have  blades  subtending  the 
same  number  of  degrees. 

you  should  wait  until  both  lamps  are 
perfectly  adjusted  before  setting  the 
arc-indicator  cards  or  arcoscope 
screens. 

Very  slight  brightness  differences 
can  often  be  eliminated  by  adjust- 
ment of  the  arc  (geometric  focus)  in 
one  of  the  lamps;  but  this  method 
should  not  be  relied  upon  to  "iron 
out"  gross  differences  because  chang- 
ing the  arc  focus  changes  the  color  of 
the  light.  iP 


B  Er  K  Opens  First 
Chicagoland  House 
Since  Late  30fs 

The  first  new  Balaban  &  Katz 
theatre  to  be  erected  in  the  Chicago 
area  in  27  years  is  due  to  open  this 
fall  at  a  site  adjoining  a  shopping 
center  in  suburban  Oak  Brook,  111. 

Ground-breaking  ceremonies  last 
month  were  attended  by  Oak  Brook 
Mayor,  Ted  A.  Mehlman,  David  B. 
Wallerstein,  president  of  Balaban  & 
Katz,  Richard  M.  Bennett  of  Loebl, 
Schlossman  &  Bennett,  architects, 
Douglas  Kramer,  vice  president  of 
Draper  and  Kramer,  Inc.,  agents,  and 
Miss  Helen  De  Witt,  executive  secre- 
tary of  the  Oak  Brook  merchants 
association. 

Also  on  hand  were  Norman  Cohn, 
president,  and  Bernard  Blake,  vice 
president  of  the  Inland  Construction 
Company  of  Morton  Grove,  contrac- 
tors for  the  project. 

The  design  and  decor  of  the  new 
theater  will  conform  generally  to  that 
of  the  shopping  center  it  adjoins. 

iP 

Ampex   Names   Robt.   Hill 
Ad   Sales    Promotion   Mar, 

Robert  G.  Hill,  former  manager 
of  advertising  for  Columbia-Geneva 
Division,  U.S.  Steel,  has  been  named 
advertising  and  sales  promotion  man- 
ager for  Ampex  Corporation,  it  has 
been  announced  by  Thomas  E.  Davis, 
marketing  division  manager. 

In  his  new  post,  Hill  is  responsible 
for  advertising  and  sales  promotion 
of  video,  instrumentation,  computer 
and  professional  audio  products  in  a 
wide  range  of  markets  including 
broadcasting,  industry,  defense,  aero- 
space and  medicine. 

The  holder  of  more  than  20  awards 
for  advertising  achievements,  Hill 
was  named  "Industrial  Advertising's 
Man  of  the  Year"  for  1957,  the  only 
Westerner  so  honored  in  the  32-year 
history  of  the  award.  The  award  is 
presented  annually  by  the  national 
sales  and  advertising  magazine,  In- 
dustrial Marketing,  Chicago. 

He  is  a  graduate  of  San  Francisco 
City  College.  iP 


Stadium  Theatre 
Opens  in  Bayside 

A  1400-seat,  stadium-type  theatre 
opened  its  doors  last  month  in  Bay- 
side,  Long  Island,  N.  Y. 

Operated  by  Fabian  Theatres,  the 
new  house  was  equipped  by  Capitol 
Theatre  Supply  Co. 

The  screen  was  supplied  by  Hurley 
Screen  Company.  Adler  Frames  and 
glass  were  used  and  General  Register 
supplied   ticket  machines. 


ERROR 

International  Projectionist  is 
doubly  regretful  about  its 
error  in  reporting  the  recent 
25-30  Club  dinner  dance  in 
New  York.  It  was  erroneously 
reported  that  Local  306  makes 
up  the  bulk  of  the  club's 
roster;  in  fact,  most  of  its 
members  are  not  New  York 
area  people,  but  belong  to 
locals  all  over  the  U.S.,  Can- 
ada, England  and  New  Zea- 
land. It  is  also  regretful  that 
more  of  these  members 
couldn't  attend  the  party,  as 
it  was  reportedly  one  of  the 
nicest  functions  yet  held  by 
the  group. 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment   Division 
TOO    E.  42nd   St.,    New  York   17,   N.Y. 


CARBON  ARCS    .   .    .   for  finest  Projection    .   .   .    Compact  Xenon  Arcs 

JfcowuUne  Abe  QgsiAjosU  /         Y  ^^T'T^f  n  i\r° 


division 
•  Brighter  Light  on  Screen 

•  Longer  Burning  per  Carbon 
*  More   Economical 


products 


CARBONS,   INC. 


rrsiosf  LAMPHOUSES  • 

by  Cinemeccanica 


BOON  TON,    N.  J. 


\Ernosf  POWER  SUPPLIES 

by  Christie 


18 


International  Projectionist        May  1964 


basic 
mathematics 


PRACTICAL 
METHOD 


by  NORMAN  H    CIOWHUIST 


VOLUMES 
1  through  4 
COMPLETE 

ROM  (OUNTIM 

TWOUtM  UlOAIft 

*  itOOttN 

UWHiD  APftOAlH 

TO  tunCMATKS 

AMB  ITS  IRB 


m  RIDER 


1 ' 

■  •■ 

M 

■ 

V 

•  - 

i 

BASIC   MATHEMATICS 
by  Xorman  H.  Crowhurst 

4-volume  'pictured-text'  course  makes  it  easier  than 
ever  before  possible  to  learn  all  the  math  you'll  need 
to  know  to  speed  your  progress  in  Jectroni.s— no 
short  cuts— no  gimmicks. 

This  remarkable  4-volume  course  takes  you  in  easy 
stages  from  counting  through  algebra,  geometry, 
trigonometry  to  calculus  so  that  you  will  understand 
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Name     

Address    

City   Zone Stat?   

• i 


The 


aatiLl  New 


LJTLJF^ 


PROJECTION  ARC  LAMP 


A  Product  of 

The  ^twS  Electric  Corporation 

31   City  Park  Avenue    •    Toledo,  Ohio  43601 
Phone:  (419)  248-3741 

Brochure  on   request 


WIDER  USE 


Matches  the  optical  requirements  of  ail  35mm 
and  70mm  projectors.  A  single  knob  allows 
instant  change  between  film  widths.  A  cali- 
brated scate  with  reference  pointer  facilitates 
precise  reset  of  burner  focus  ...  a  Strong 
exclusive. 


GREATER  CONVENIENCE 


Unit  construction  permits  instant  removal  of 
components  for  cleaning  and  Inspection.  25% 
lower  silhouette  permits  easy  installation  in 
low-ceiling  projection  rooms. 


The  FUTURA  n 

with  automatic  crater  positioner  for  13.6mm 
carbon  trim  burning  at  120  to  160  amperes, 
or  for  11mm  carbon  trim  burning  at  100  to 
125  amperes. 


MORE    LIGHT 


for  ail    Indoor  theatre   screens   up  to   65  feet 
and  drfve-in  screens  up  to  120  feet. 


LESS   COST 


to  buy  and  less  to  use.  Efficient  utilization 
of  standard  20-inch  carbons  insures  THE 
GREATEST  AMOUNT  OF  LIGHT  EVER  DE- 
LIVERED PER  CARBON  DOLLAR.  Permits 
projection  of  an  extra  reei  p&r  carbon. 


The   FUTURA  I 

for  utmost  economy  in  operation  with  stand- 
ard 11mm  carbon  trim  burning  at  75  to  105 
amperes. 


MORE    FEATURES 


New  type  relocated  arc  imager  system  elimi- 
nates paraiiax.  Big  18-inch  first  surface  Strong 
Tufcold  reflectors  used  in  lamps  operating 
above  95  amperes  assure  lower  aperture 
temperatures.  Silvered  reflectors  used  in 
lamps  burning  under  95  amperes.  Stream- 
lined ammeter  for  reading  arc  current.  Auto- 
matic trimming  light.  Inside  dowser  system. 


Larry  Collins,  manager  of  the  41  Drive-In, 
Macon,  Ga.,  and  projectionist  Andrew 
Nobler,  Jr.  examine  one  of  their  new  Strong 
Futura  I  projection  lamps.  Greatly  increased 
brightness  at  negligible  cost  has  been 
i  realized  since  installation  of  the  Futuras. 
See  story  on  page  18. 


sseaSuoo  jo  Arejqxi 


JUNE 

VOLUME  39 
40c  A  COPY 


1964 

NUMBER  6 

$3.00  A  YEAR 


.._/•":..,: 


t.  Bonus  brilliance 
2.  Bonus  burning  time 


The  longer  your  throw  and  the  wider  your  screen,  the 
more  you  need  the  two  big  bonuses  that  go  with 
"National"  projector  carbons! 

So  why  short-change  yourself?  Why  settle  for  less 
when  you  can  fill  your  screen  with  today's  brightest 
light  and  get  longer  screening  time  per  inch  of  car- 
bon burned? 

Specify  "National"— and  you  specify  the  projector 
carbons  that  have  been  the  standard  for  quality 
screen  illumination  since  1917. 

"National"  is  a  registered  trade-mark  of 

UNION  CARBIDE  CORPORATION 

CARBON  PRODUCTS  DIVISION 
270  Park  Avenue  •  New  York,  N.  Y.  10017 
In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL 

PROJ  ECTIONIST 


Volume   39 


June    1964 


No.   6 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO   ASSOCIATES 

National  Advertising  Representatives 

545  Fifth  Avenue,   New  York    17,   N.  Y. 

Telephone    Murrayhill    7-7746 

(Area   Code   212) 


IN  THIS  ISSUE 

Proper    Projection  3 

New   Construction   Methods 

Cut    Expense  4 

Lenox   Square   Theatre  6 

Sound  Track 

By  J.  G.  Jackson  8 

Hollywood  at  the  N.  Y.   Fair  9 

Characteristics  of   Film  12 

News    Notes  —  Technical    Hints  —  Miscellaneous    Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
International  Projectionist  Publishing  Co.  division  of  The 
Northern  Publishing  Co.,  Post  Office  Box  6174,  Minneapo'is 
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Minneapolis,  Minn.  INTERNATIONAL  PROJECTIONIST  as- 
sumes no  responsibility  for  personal  opinions  appeoring  in 
signed  articles,  or  for  unsolicited  articles.  Entire  contents 
copyrighted  1964  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO.  <^^SSfe> 


PROPER  PROJECTION 

To  insure  proper  lamp  operation,  and  to  prolong  the 
life  of  the  lamp,  these  procedures  should  be  strictly 
followed : 

Optical  surfaces  should  he  kept  scrupulously  clean. 
A  regular  program  for  cleaning  them  each  morning  be- 
fore the  days  operation  begins  is  an  important  part 
of    projection    room    routine. 

Only  lens  tissue  should  he  used  for  cleaning  optical 
surfaces.  \  full  supply  of  this  material  ought  to  be 
on  hand.  If  the  supply  is  unavoidably  exhausted,  silk 
or  soft  flannel  materials  may  be  used,  never  cotton. 
If  the  dr\  lens  tissue  does  not  effect  complete  removal 
of  stubborn  dirt,  it  may  be  moistened  slightly  with 
carbon  tel rachloride. 

The  floor  of  the  lamphouse  should  be  kept  clean, 
carbon  dust  and  copper  particles  swept  out  regularly. 

Feed  relay  contact  points  should  be  checked  regu- 
larly, and  cleaned  with  fine  sandpaper  if  sparking 
appears.  Continued  arcing  across  the  relay  points  in- 
die ates  that  the  introduced  into 

the  sound.  This 
ing     them     has  calls  for  clean- 

d  el  crio rated.  ing     the     relay 


and  should  be 
replaced.  If  re- 
lay contact  ac- 
tion is  faultx. 
noise    ma\      he 


points,  read- 
justing  their 
tension,  and,  in 
extreme  cases, 
for    installation 


of    filter   condensers,    connected    cither    acress   the   points 
"i     from    each    point    to   ground. 

Commutator  action  of  the  arc  feed  motor  may  also 
create  noise  in  the  sound  if  the  commutator  is  dirty  or 
in  poor  condition,  or  if  the  brush  tension  is  incorrect. 
In  such  cases  the  commutator  should  he  cleaned,  sanded 
or  repaired;  or  the  brushes  should  be  adjusted  or  re- 
placed. It  max  also  be  necessary  to  connect  filter  con- 
densers across  the  brushes,  or  from  each  brush  to 
g]  mind. 

Ml  inoxing  parts  schould  be  kept  carefully  lubri- 
cated at  all  times,  in  accordance  with  the  manufacturer's 
instructions. 

Optical  adjustments  should  be  checked  frequently. 
\n\  improper  adjustment  will  show  up  immediately  in 
reduced  or  incorrect  screen  illumination. 

Onl\  the  correct  size  carbons  should  be  used,  and 
each  carbon  should  be  carefully  inspected  before  it  is 
inserted  in  the  lamp.  Carbons  must  be  kept  in  a  dry 
place. 

Maintaining  a  stead)  arc  at  all  times  is  one  of  the 
most  important  responsibilities  of  the  projectionist. 

Film  Maintenance 

Things  to  watch: 

Improper  packing  and  rough  handling  in  shipment. 

Excessive  tension  at  the  projector  aperture,  and  in- 
correct take-up  action. 

Improperly  adjusted  sprocket  idlers,  loose  splices 
and  poorly  made  splices,  which  allow  the  film  to  run 
off  the  sprocket,  thus  embossing  sprocket  teeth  impres- 
sions on  it  or  actually^  tearing  it. 

Rewinding  should  be  done  at  the  rate  of  1,000  feet 
in   six  minutes — no  faster. 

Reels  should  not  be  overloaded  with  excessive 
footage. 

Proper  tension  must  be  maintained  on  the  upper 
reel. 

Film  should  be  stored  only  in  a  clean,  humid 
atmosphere. 

Undercut  or  worn  sprocket  teeth.  iP 


International  Projectionist 


June,  1964 


INTERNATIONAL   PROJECTIONIST 


'■■     t,.J    ,■    I'- 


Volume  39 


June,   1964 


Number  6 


Construction,  Remodeling  on  Upswing  .  .  . 


New  Methods  Cut  Expense 


A  theatre  construction  boom  is  in  full  swing,  Theatre  Equipment  Dealers 
Assn.  members  were  told  at  a  recent  meeting  in  Chicago. 

Mel  Glatz,  design,  construction  and  maintenance  engineer  for  National 
General  Corporation  Theatres,  said  theatres  of  conventional  design  are  being 
erected  particularly  in  key  locations  and  shopping  centers. 

"Experimental  theatres,  properly 
located,  improved  product  and  popu-  = 

lation  trends  have  reestablished  faith 
in  the  industry,"  he  said.  "This 
renewed  faith  was  backed  up  by  hard 
cash  to  the  tune  of  $97  million  in 
new  construction  in  1963,  plus 
another  $15  million  on  refurbishing 
and  reequipping  older  theatres. 

"It  is  predicted  that  in  1964  there 
will  be  considerably  more  new 
theatre  construction  and  many  more 
remodeling  projects  —  possibly  at  a 
combined  amount  near  $130  million. 

The  expert  told  the  dealers  that  .  .  . 
"While  the  industry  has  lost  an  audi- 
ence to  other  forms  of  entertainment 
and  sports  media,  except  for  rare  oc- 
casion, it  is  starting  to  feel  the  effects 
of  the  population  explosion. 

Population    Increase 

"You  are  aware  of  this  great 
population  growth,  but  to  bring  it 
into  full  and  proper  focus,  may  I 
remind  you  of  a  few  significant 
statistics  and  predictions. 

"In  1950  the  U.  S.  population  was 
152.3  million.  In  1960  the  figure  was 
180.7  million.  We  are  approaching 
1965.  and  the  prediction  is  195.1  mil- 
lion. The  prediction  continues  by 
estimating  that  the  population  figure 
in  1970  wii  be  211.4  million:  and  by 
1980,  only  15  short  years  away,  the 
figure  will  reach  252.1  million. 

"No  doubt  much  of  the  new  faith 


in  the  industry  is  based  correctly  on 
these  figures. 

"While  on  statistics,"  he  continued, 
"the  migration  of  population  should 
be  of  some  significance  to  you  in 
planned  marketing. 

"It  is  predicted  that  during  the 
sixties  this  migration  west  will  in- 
crease, with  the  migration  south 
being  a  close  second. 

"It  is  estimated  that  by  1975,  the 
majority  of  the  population  will  live 
in  only  20  super  cities! 

"Considering  these  facts  and  pre- 
dictions —  plus  your  realization  that 
there  are  eight  to  ten  thousand 
theatres  in  the  nation  badly  needing 
remodeling  —  new  equipment  —  new 
furnishings  —  your  future  appears 
bright! 

"It  appears  that  for  those  who  can 
adapt  and  qualify,  they  are  on  the 
threshold  of  the  biggest,  most  reward- 
ing opportunity  they  will  experience 
in  a  lifetime. 

"The  question  becomes:  What 
Does  It  Take  to  Qualify? 

"You  Must  Become  a  Hard-Headed 
Realist,  and  realize  that  many  of  the 
items  and  services  you  are  offering 
your  customers  are  as  obsolete  as 
most  of  our  ancient  theatres.  In  fact, 
some  product   and   methods   are   the 


same  as  were  being  offered  and  sold 
in  the  thirties! 

"I  believe  .  .  .  that  our  production 
end  of  our  business  is  also  way  in 
advance  of  our  physical  properties 
and  equipment,  and  that  there  are 
relatively  few  theatres  which  can 
present  this  product  to  the  customer 
as  it  should  be  presented,  and  give 
the  customer  the  full  impact  of  what 
has  been  put  on  the  film. 

New   Attitude 

"The  attitude  of  'you  make  it,  we'll 
sell  it'  was  discarded  15  years  ago  by 
most  every  other  business. 

"In  modern  business,  those  dislik- 
ing change  have  gone.  Those  pre- 
ferring to  remain  status  quo,  have 
not  been  able  to  maintain  their  status 
quo. 

"Those  who  welcome  change,  who 
adopted  and  initiated  new  concepts 
in  product  and  marketing,  are  the 
Successes  of  today  in  modern  busi- 
ness. This  must  be  your  philosophy, 
as  of  now. 

"The  industry  needs  an  organized 
research  program  of  your  customers' 
needs,  and  those  of  the  demanding 
public.  The  whole  picture  must  begin 
and  end  with  the  public's  likes  and 
dislikes.  I  am  not  speaking  of  equip- 
ment and  furnishings  only  —  but  of 
the  composite  theatre  —  the  complet- 
ed end  results. 

"There  are  literally  hundreds  of 
exhibitors  wanting  and  needing  new 
facilities  —  remodeling  —  equip- 
ment. Most  of  them  haven't  the  slight- 
est idea  of  how  to  begin,  or  where  to 


International  Projectionist 


June,  1964 


start,  or  what  they  will  need,  or  with 
whom  to  counsel,  who  can  really 
guide  them  and  who  really  knows. 

"W  ith  no  new.  up-to-date  guide 
line?  and  requirements  to  go  by  for 
today  s  streamlined  functional  theatre 
an  inexperienced  person  is  bound  to 
make  costly  errors  and  come  up  with 
obsolete  facilities. 

View   the    Future 

"Here,  again,  research  by  a  group 
such  as  yours  can  be  invaluable  to 
the  industry,  Guess  work — personal 
opinion  —  tradition  must  go.  Every- 
thing must  start  with  the  customer 
and  end  with  the  customer  —  his 
needs,  his  like-,  his  wa\  of  life:  anil 
with  vision  to  the  future. 

"\K  company  has  been  ver)  active 
in  this  new  expansion  program;  has 
completed  several  new  projects,  both 
conventional  and  drive-in  theatre-. 
And  there  air  man\  more  in  the 
planning  stage.  \\  e  need  many  re- 
placement- of  obsolete  facilities,  not 
only  in  metropolitan  areas,  hut  in 
town-  of  25,000  to  100,000  popula- 
tion,   as    well. 

"The  tremendous  cost  of  these 
completed  projects  has  made  our  offi- 
cials consider  each  project  more  care- 
fully. It  would  be  m\  guess  that 
others  interested  in  expansion  and 
improvement  are  finding  the  same 
condition. 

"It  would  also  he  m\  guess  that  for 
ever)  new  project  under  ua\  or  com- 
pleted, there  are  at  least  twenty  to 
thirty  more  which  are  desired  and 
needed,  but  which  have  been  shelved 
or  halted. 

"In  my  company,  those  of  us  in 
the  design  and  construction  field 
have  been  challenged  by  our  top 
management  to  do  something  about 
this  problem:  to  produce  a  new. 
deluxe  conventional  theatre  for  $300. 
per  seat,  complete  in  ever)  respect, 
fulh  equipped,  exclusive  of  land 
cost.  The  past  completed  theatres 
have  been  costing  between  $400.  to 
S600.  per  seat.  This  means  cutting 
the  cost  of  an  average  800-seat. 
equipped  theatre  by  $50,000.00  to 
$100,000.00. 

Can    Be    Done 

"This,  you  may  say.  is  impossible. 
Yet,  every  indication  is  that  it  can 
and  will  be  done. 

it  can  not  be  done  by  some  of 
our  ancient  standards. 

"Getting  back  to  the  challenge  of 
creating  a  greatly  reduced  cost  on 
our  new   theatre  .  .  . 

"\X  e  cut  our  over-building  height 
by  30"  by  using  the  former  attic 
space  to  mount  draperies  and  tracks. 
This    eliminates    a    valance    and    also 

International  Projectionist 


cut  out  another  14,000  cubic  feet 
from  the  auditorium,  helping  on 
heating  and  air  conditioning  require- 
ments and  future  costs.  This  also  im- 
proves the  picture  presentation. 

"Electrical  systems  can  and  are 
being  simplified,  primarily  in  the 
projection  booth,  and  simplification 
of  the  main  distribution  system. 
While  some  of  this  ma)  create  a  few 
extra  steps  for  theatre  personnel,  it 
-a\es  thousands  of  dollars  in  first 
cost  and  later  maintenance. 

"Catwalks  through  the  attic  have 
been  eliminated  by  discarding  old 
standards  —  new  engineering  and 
adapting  new  type  fixtures,  lhi- 
item.      alone,      saves      approximated 

$3,000.00. 

"New  approaches  to  traffic  pat- 
terns of  patrons  entering  and  exiting 
also  conserve  precious  square  feet. 
b\  rmfing  normally  waste  -pace  to 
w  or' 

"  \  unique  use  of  common  mater- 
ials has  eliminated  plaster  or  acou-ti- 
cal  materials  for  auditorium  side- 
walls  not  <  overed  l>\  draperies. 

New    Products 

"Special  products  ha\e  been  de- 
veloped in  conjunction  with  standard. 
inexpensive  T  Grid  acoustical  ceiling 

products,  which  eliminate  the  appear- 
ance of  the  grids,  making  possible  a 

one-hour  rated  ceiling  at  2.V  .  less 
COSt    from   normal    method-. 

"Win  can't  we  gel  manufacturers 
to  consider  the  problems  and  the  cost 
he  creates  in  the  use  of  his  product? 
The  market  i-  large  enough  to  war- 
rant  consideration. 

"If  \ou  will  recall  my  previous 
remarks,  nowhere  have  I  mentioned 
eliminating,  changing  or  cheapening 
any  item  or  phase  of  the  composite 
theatre  which  would  diminish  in  any 
wa\  the  esthetic  atmosphere  —  the 
comfort  —  the  functional  qualities  — 
the  maintenance  —  the  abilit\  to  pre- 
sent motion  pictures  as  they  should 
be  presented.  Because  all  of  these  are 
primary,  and  are  of  extreme  impor- 
tance. 

"I  have  not  covered  drive-in 
theatres.  Here  again,  most  are  still  in 
the  cow  pasture  stage.  Prestige  is 
seriouslv  lacking. 

"We  need  improvements,  studies, 
research,  and  cost  reductions  in  every 
phase  of  the  composite  theatre,  tun- 
ed to  today's  and  tomorrow's  needs: 
functional  design  of  building,  use  of 
materials,  boxoffice  equipment  and 
security  control,  floor  coverings, 
lighting  and  electrical,  seating,  adver- 

(Please  turn  to  page  18) 

June,  1964 


35  and  70mm 


"teg** — 


Shopping  Center  Theatre  .  .  . 

Lenox  Square  Has  The  Modern  Look 


In  the  April  1964  issue  of  International 
Projectionist,  the  projection  lamps  newly 
installed  in  the  booth  of  the  Lenox  Square 
Theatre,  Atlant,  Ga,,  were  described  (page 
14).  Here  is  additional  information  on  the 
new  theatre. 


Luxury  and  comfort  abound  in 
the  new  Lenox  Square  Theatre,  At- 
lanta, one  of  Georgia  Theatre  Co.'s 
new  "showcase"  houses. 

From  its  distinctive  marquee — said 
to  be  the  largest  straight-line  model 
in  the  U.  S.- — to  its  deep  pile  gold 
carpeting  in  the  auditorium,  the 
Lenox  Square  is  truly  an  example 
of  what  modern  architecture  and  fur- 
nishings can  do  for  a  motion  picture 
house. 

The  marquee  is  58  feet  long,  with 
19-foot  openings  accommodating  ten 
lines  of  ten-inch  letters,  six  lines  of 
17-inch  letters  and  four  lines  of  24- 
inch  letters.  The  letters,  in  all  sizes. 
are  red  plastic.  The  theatre  name  is 
formed  of  molded,  48-inch  letters, 
protruding  from  a  blue  plastic  back- 
ground. 

The  entrance  lobby  is  30  feet  wide 
and  120  feet  long.  Walls  on  one  side 
are  paneled  in  walnut,  while  the  other 
side  is  in  vari-colored  Vicratex  wall 
covering.  The  40x60  ft.  display 
frames  are  inserted  between  uprights 
which   serve  to   divide    the    orange. 


canary  and  turquoise  panels.  One 
half  of  this  entire  area  is  floored 
with  vinyl,  while  the  other  half  is 
carpeted.  The  carpet  here,  as  else- 
where throughout  the  theatre  is  in  a 
solid-color  design  composed  of 
orange,  canary  and  beige  yarns.  A 
30-foot  settee  is  built  into  the  rear 
wall  of  the  lobby  space,  fitted  with 
12  vari-colored  foam  rubber  cush- 
ions. 

A  modern  concessions  counter  is 
built-in,  holding  many  varieties  of 
candies  in  the  center  section,  and 
with  soft  drink  dispensers  for  grape 
and  orange  drinks.  An  icemaker  is 
attached  to  Coca-Cola  dispensers.  A 
large  popcorn  machine  which  has 
been  vented  occupies  one  end  of  the 
side  counter.  On  a  background  made 
of  pegboard  is  a  pictorial  display  of 
the  products  sold,  composed  of  four 
panels  of  plastic,  shaped  to  resemble 
film  strips,  with  lighted,  colored 
photographs  of  the  actual  items  sold 
protruding  from  these  plastic  panels. 

The  lobbyr  also  houses  two  drink- 
ing  fountains,   public   telephone  pay 


cowmc 

$if  tCARITAXERS' 


stations  and  modern  furniture.  A 
16-foot  circle  of  modern  lights,  in 
matching  colors,  beautifies  each  end 
of  the  lobby,  while  the  central  por- 
tion is  illuminated  by  hidden  lights 
focused  on  the  refreshment  area. 

There  are  700  rocking  chair  seats 
in  the  auditorium,  installed  on  a 
staggered  floor  plan.  The  seats  are 
upholstered  with  nylon  over  foam 
rubber  cushioning,  plus  springs,  with 
double-width,  upholstered  armrests. 
Carpet  in  the  auditorium  extends  to 
the  stage  and  up  three  steps  and 
over  the  entire  stage  to  the  screen 
location.  Walls  are  draped  in  gold 
damask  around  the  entire  auditori- 
um, broken  only  by  five  hidden 
lighting  devices  on  each  side  wall. 

The  close-in  curtain  and  screen 
masking  are  controlled  automatically 
from  the  projection  room,  and  the 
dimmer  for  auditorium  and  stage 
lights  is  also  controlled  from  the 
booth.  In  the  projection  room,  the 
latest  in  70-35mm  projection  equip- 
ment was  installed,  using  all-trans- 
sistor  sound.  The  arc  lamps  are  pow- 
ered by  rectifiers,  and  three  sets  of 


^^^SFf^P^^P 


A  smuch  smaller  version  of  the  main  marquee  lights  the 
passage  from  foyer  to  lobby  and  advertises  coming  attrac- 
tions,   channels   waiting,   exiting    traffic. 


An  ultra  modern  lobby  provides  ample  waiting  space  for 
patrons.  Cheerful  lighting  and  a  30-ft.  settee,  part  of  which 
shows  lower  right,  are  features  of  the  Lenox  Square's  lobby. 

International  Projectionist  June,  1964 


lenses  provide  for  the  different  pic- 
ture sizes.  Tile  projection  room  is 
beautifully  equipped  with  all  of  the 
special  dei  ices  needed  for  the  hand- 
ling of  70mm  film,  as  well  as  a  spot- 
light, |>tiliii  address  system,  mag- 
netic tape  recording  and  background 
equipment,  as  wel]  as  record  players. 
The  auditorium  i>  equipped  with  five 
wall  speakers  on  each  side  ami  five 
speakers  are  located  in  bai  k 
of  the  ld\  10-foot  screen. 


Comfort   for    Patrons 

\  spacious  ladies'  lounge,  carp. -led 
and  decorated  l>\  an  Vtlanta  depart- 
ment stoic  i-  adj. Kent  to  the  muni'ii  - 
restroom,  the  latter  being  tiled  from 
floor  to  ceiling  in  a  canar)  motif. 
A    dressing    room    for   cashiers   and 

Concessions     attendant-     i-    connected 

to  the  ladies'  room.  The  men's  room 
is  of  the  same  spacious  design,  in  a 
cocoa   color.     The   ushers'   dressing 

loom  i-  attached  to  this  space. 

The  Lenox  Square  Theatre  i-  con- 
ditioned throughout  for  summer  cool- 
ing and  winter  heating  l>\  three 
separate  units. 

I.  B.  "Bill"  Finch  of  Finch,  Uex- 
ander,  Barnes,  Rothchild  \   Pasi  hal, 

was  architect   for  the  theatre. 

President  of  the  I  exox  Square 
Shopping  Center,  one  of  the  most 
outstanding  in  the  nation,  i-  Edward 
I..  Noble,  and  John  I).  Smith  i-  vice- 
president  and  general  manager. 
Smith  -aid.  rejiardhi"  the  theatre. 


Something    More' 


"\\  e  are  happj  to  have  Mr.  John 
Stembler,  presidenl  of  Georgia  The- 
atres Co.,  ami  I..  E.  W  hitaker.  the 
company's  general  manager,  and 
their  associates  with  us  as  the  firm 
the)  represent  i-  congenial  with  the 
aims  of  our  other  tenants — to  contin- 
uall\  strive  to  make  Lexon  Square 
more  than  a  market  place." 

Carrier  air  conditioning  units  were 
used:  other  suppliers  are  as  follow-: 
Bigelow,  carpeting;  soft  drink  dis- 
pensers. Coca  Cola  Co.  and  Jet 
Spray:  Scotsman,  ice  machine:  pop- 
corn machine.  Star:  seats.  Heywood- 
Wakefield;  screen.  Technikote: 
speakers.  Altec:  marquee.  State 
Neon:   and  letters.  Bevelite. 

Century  provided  projectors  and 
sound  reproduction.  emplo\  im_r 
Strong  lamps  and  rectifiers  and 
Bausch  &  Lomb  and  Kollmorgen 
lenses.  iP 

International  Projectionist 


T'HTm*VAESCAPPE- 

STW  McOUEEN    JAMES   GARNER 


Georgia  Theatres'  new  Lenox  Square  Theatre,  located  in  an  Atlanta  chop- 
ping center,  uses  its  giant  marquee  to  attract  customers.  State  Neon,  Atlanta, 
supplied   the   marquee,   which    uses   Bevelit    letters. 


Rocking  chair  type  seats  and  ample  leg  room  complete 
the  picture  of  comfort  and  luxury  in  the  Lenox  Square 
auditorium.  The  interior  is  done  in  gold,  accented  by  both 
carpeting  and  drapes. 


A  colorful   backdrop   for  the   Lenox   Square's   refreshment   counter   simulates 
film  strips    with  individual  "frames"  highlighting  pictures  of  the  treats. 

June,  1964  7 


Sound  Track 


by  J.  G.  Jackson 


College  Boasts  Modern  Projection  Room 


Nashville,   Tenn. 

Dear  J.  G.: 

I'm  told  that  light  inbal- 
ance  is  mainly  caused  by 
using  projectors  of  different 
makes  or  models.  Does  this 
always  occur? 

Ralph   Agar 


Dear  Ralph: 

The  use  of  different  makes  or 
models  of  projector  mechanism  on 
the  two  machines  does  not  necessarily 
cause  an  inequality  of  screen-light 
balance,  but  whenever  a  light  mis- 
match is  obtained  from  a  hybrid  in- 
stallation, do  not  fail  to  check  the  size 
of  the  openings  in  the  shutter  case  and 
heat  shield  of  the  "dim"  machine. 
It  may  be  that  these  openings  are  too 
small  to  allow  the  light  beam  to 
pass  through  the  aperture  unobstruc- 
ted. 

An  obstinate  case  of  brightness 
mismatch  may  require  a  recheck  of 
the  reflectance  of  the  lamp  mirrors 
and  even  if  the  angular  width  of  the 
shutter  blades  in  each  of  the  projec- 
tors. Remember,  it  is  the  angular 
width  of  the  shutter  blades  in  degrees 
that  affect  shutter  light  transmission, 
not  the  actual  size  or  diameter  of  the 
shutter  in  inches.  Angular  width, 
which  should  be  exactly  the  same  for 
the  -  shutters  of  both  projectors,  is 
measured  with  a  protractor,  obtain- 
able at  almost  any  dime-store  station- 
ery counter. 

Because  the  optical  plate  glass  in 
the  projector  ports  may  absorb  8  or 
more  per  cent  of  the  light,  a  notice- 
able brightness  mismatch  will  occur 
if  the  glass  is  present  in  one  of  the 
ports  and  absent  from  the  other.  The 
average  observer  is  able  to  detect  a 
brightness  difference  in  the  neighbor- 
hood of  4  or  5  per  cent. 

More  subtle  causes  of  faulty  pic- 
ture equalization  which  make  change- 
overs  perceptible  to  the  audience  in- 

8 


One  of  the  finest  equipped,  roomiest  projection  rooms  in  any  institution  of 
learning  is  that  of  Ball  State  College,  Muncie,  Indiana,  where  a  Strong  Xenon 
projection  lamp  has  just  been  installed  for  16mm  film  projection  along  with  two 
Strong  Carbon  Arc  projectors  for  both  V-/J'  x  4x/i"  slides  and  35mm  slides. 
Shown  operating  the  Eastman  projector  is  Robert  E.  Jolliffe.  Two  Strong  Super 
Trouper  Carbon  Arc  follow  spotlights  complete  the  booth  equipment. 


volve  the  lateral-guide  flanges  and 
the  intermittent  movements.  It  is  cer- 
tainly true  that  if  the  picture  pro- 
jected by  one  machine  is  more  or 
less  jumpy,  the  difference  in  pro- 
jectors will  be  noticed.  We  can  state 
categorically  that,  unless  the  picture 
has  been  badly  photographed  or  care- 
lessly printed  on  the  film,  or  the 
print  is  in  poor  physical  condition, 
there  is  seldom  any  excuse  for  pic- 
ture-jump  or  side-weaving. 

The  test  for  camera  or  printer 
jump  is  simple,  although  it  cannot 
be  carried  out  during  a  performance 
for  an  audience.  The  picture  must  be 
racked  out  of  frame,  with  the  frame- 
line  placed  across  the  middle  of  the 
screen.  The  bottom  half  of  the  picture 
will  occupy  the  top  half  of  the  screen, 
and  the  top  half  of  the  picture,  the 
bottom  half  of  the  screen.  If  these 
two  "picture  halves"  are  seen  to 
weave  and  jump  independently  of 
each  other,  and  the  frameline,  itself, 
is  rocksteady,  the  camera  used  for 
photographing  the  picture  caused  the 
jump.  If,  however,  the  two  halves  of 
the  picture  and  the  frameline  all  jump 
together  in  the  same  direction,  either 
the  projector  is  at  fault  or  the  sproc- 
ket holes  of  the  print  are  worn  out. 

Address  your  cards  and  let- 
ters to  Sound  Track,  1645 
Hennepin  Ave.,  Minnea- 
polis, Minn.,  55403 


After  35  Years 


George  H.  Mayer  (left)  is  all  smiles 
as  he  retires  after  35  years  with  Union 
Carbide  Corporation's  Carbon  Products 
Division.  For  the  past  decade,  Mr. 
Mayer  .has  .been  .headquartered  .in 
Atlanta,  responsible  for  the  sale  of  arc 
carbons  for  motion  picture  projection 
throughout  .the  .southeastern  .United 
States.  Extremely  active  in  the  Atlanta 
Men's  Garden  Club,  he  was  a  driving 
force  in  the  local  beautification  pro- 
gram that  has  led  to  the  planting  of 
countless  trees  and  shrubs.  Looking  on 
is  his  wife,  Becky,  as  he  receives  a 
retirement  gift  and  good  wishes  from 
C.  J.  Chapman,  vice  president,  market- 
ing, for  the  Carbon  Products  Division. 
Mr.  Mayer  is  also  an  active  member  of 
the  Variety  Club. 


International  Projectionist 


June,  1964 


Filmland   Goes   To  The    Fair 


This  sketch  of  the  Hollywood  pavilion  at  the  World's  Fair  shows  the  main 
facade  of  the  75,000  sq.  ft.  exhibition  area,  which  contains  selected  famous  movie 
sets    and    many    other    features. 


Hollywood  Pavilion 
Dazzles  Fair  Visitors 


Famous  Hollywood  seta  actually 
used  in  outstanding  pictures,  a  L0O0- 
seal  theatre  in  which  audiences  can 
watch    the    shooting    of    a    film    on 

-  mulated  sound  stage,  and  a  Mo- 
tion Picture  Museum  »>f  memorabilia 
from  the  treasure  chests  of  the  ma- 
jor studios,  an-  highlights  of  the 
Hollywood  Pavilion  at  the  New  York 
\\  mi  Id's    Fair. 

The  exhibit  reflects  the  color, 
clamour  and  excitement  of  the  Holly- 
wood motion  picture  industry.  Occu- 
pying a  75,000  square  foot  exhibi- 
tion area,  the  Hollywood  Pavilion  is 
operated  by  George  Murphy  &  Asso- 
ciates, with  Trans  World  Financial 
Company  participating  a>  financial 
manager. 

Utilizing  all  the  magic  <>f  the  world 
of  Hollywood  as  its  theme,  the  Pa- 
vilion has  as  its  entrance  a  replica 
of  the  facade  and  forecourt  of  Grau- 
mans  Chinese  Theatre,  most-  publi- 
cized movie  palace  in  the  world.  This 
ambitious  recreation  is  complete  with 
the  footprints  and  handprints  of 
Hollywood's     most-renowned     stars. 

Broadcasts,  telecasts  and  a  non- 
stop schedule  of  other  entertainment 
is  spotlighted  in  the  Pavilion  lobbv. 
which  features  a  Gallery  of  Stars  and 
a  Reception  Court.  There  is  also  a 
Celebrity  Retndesvous.  where  visiting 
stars  can  sign  100  autographs  at  a 
time  on  a  multiple  writer. 

Visitors    have    an    opportunity    to 

International  Projectionist 


roam  through  the  throne  room  From 
"Cleopatra",    the    candj    shop    From 

"West  Side  S".or\".  the  court  room 
From  "The  King  and  I",  the  French 
street  from  "Irma  La  Douce"  and 
mam  other  original  sets  from  cele- 
brated Hollywood  motion  pictures 
of    the    past,    present      and      future 

Vuthenticity  is  the  keynote  of  the 
presentation  of  these  fully-dressed 
movie  sets,  further  enhanced  in 
many  instances  by  the  use  of  dress 
extras  and   musical   backgrounds. 

The  skills  and  techniques  of  movie- 
making are  given  full  play  in  the 
large  Sound  Stage  Theatre  where 
\  isitors  see  the  actual  shooting  of  a 
film  in  a  demonstration  presented 
twice  every  hour.  There  is  a  break- 
away fight  scene  with  top  motion 
picture  stunt  men.  and  a  love  scene 
that  turns  into  a  three-way  comedy 
between  ingenue,  juvenile  and  direc- 
tor. The  climax  of  this  "inside  look", 
narrated  by  a  well-known  movie  per- 
sonality, is  an  audience  participation 
scene  that  gives  every  Pavilion 
visitor  a  chance  to  boast  that  he 
has  been  in  the  movies. 

Hollywood  nostalgia,  in  the  form 
of  yvell-remembered  props,  costumes 
and  jewelry,  as  well  as  models,  de- 
signs and  stills  for  classic  films,  are 
displayed  in  a  rotating  exhibition 
in  the  Motion  Picture  Museum.  One 
section  of  the  Museum  is  devoted  to 
mementoes  of  the  career  of  the  late 

June,  1964 


Cecil    B.    DeMille.    master    of    spec- 
tacles. 

Also  scheduled  are  Hollywood 
Fashion  Shows  and  promotions  for 
new  motion  pictures  to  be  conducted 
with  the  flavor  of  a  Hollywood  Pre- 
miere. In  a  replica  of  an  old-fash- 
ioned penny  arcade,  visitors  can  be 
photographed  in  a  Star  Cut-Out  and 
place  their  footprints  in  clay  to 
commemorate  their  visit.  In  a  Music 
Gallery.  leading  recording  stars 
make  personal  appearances  and 
autograph  their  latest  records  as  gifts 
for    Pavilion   guests. 

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OUT  OF  PRINT 

MITCHELL  MANUAL 

AVAILABLE! 

The  renowned  "Manual  for 
Practical  Projection"  by  Robert  A. 
Mitchell  is  now  out  of  print,  ac- 
cording to  an  announcement  by  the 
bookseller,  International  Projec- 
tionist. 

Returns  from  our  retail  outlets 
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Today's  audiences  respond  to  quality  showmanship  .  .  .  quality  built  on  sharp  negatives  and 
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and  service,  write  or  phone:  Motion  Picture  Products  Sales  Department,  EASTMAN  KODAK 
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A 


Today's  audiences  respond  to  quality  showmanship       quality  built  on  sharp  neg.ii- 
top  prints.  That's  why  it  pays  to  GO  EASTMAN  all  the  way-negative  and  pi 
ilwaysgive  the  laboratory  time  to  do  its  job  right  □  For  the  purchase  ol  film,  technli  »i  queries 
1  e.  write  or  phone:  Motion  Picture  Products  Sales  Oepartmi-nt   EASTMAN  KODAK 
COMPANY,  Rochester.  NY.   14650.  or  the  regional  sales  divisions.  200  Park  Ave  .  New 
ton,  N  Y    130  East  Randolph  Drive.  Chicago.  III..  6706  Santa  Monica  Blvd  ,  Hollywood.  Calif. 


Of  prime  importance  to  the  projectionist: 

Characteristics  of  film 


Of  prime  importance  to  the  the- 
atre projectionist  are  the  nature  and 
working  qualities  of  the  film  he  pro- 
jects. And  by  the  term  film  we  refer 
to  perforated  and  processed  motion- 
picture  positive  stock  which  consists 
of  a  plastic  base  coated  with  one  or 
more  thin  layers  of  gelatine  emul- 
sion. Now,  the  trems  used  here  are 
strictly  projection  terminology  in- 
asmuch as  "film"  and  "emulsion" 
have  somewhat  different  meanings 
to  the  photographic  engineer. 


The  word  "film"  in  photographic 
jargon  refers  only  to  the  hardened 
gelatine  coating  which  carries  a 
photographic  image  in  the  form  of 
dispersed  silver  or  salt  grains,  or  as 
colored  organic  dyes.  This  "film" 
may  be  coated  upon  glass,  paper, 
or  transparent  plastic;  and  to  facili- 
tate the  formation  of  a  coating  of 
uniform  thickness,  it  is  applied  not 
directly   to   the   supporting   material, 


but  to  a  "substrate,"  or  thin  bond- 
ing layer,  of  clear  pre-coated  gela- 
tine. 

The  substrate  and  gelatine  film, 
taken  together,  are  what  the  pro- 
pectionist  calls  "emulsion"  ( as  when 
he  speaks  of  scratches  in  the  emul- 
sion, or  of  scraping  off  the  emulsion 
preparatory  to  splicing  a  print ) .  To 
chemists,  however,  an  emulsion  is 
a  uniform  dispersion  of  a  very  finely 
dividen  liquid  or  sold  in  a  liquid — a 
milky  suspension  of  microscopic 
silver  bromide  grains  in  a  solution 
of  gelatine  for  example.  Such  a  solu- 
tion-like emulsion  of  light-sensitive 
silver  salts  hardens  to  a  pellicle — 
or  photographic  film — when  spread 
out  upon  a  smooth  support  material 
and  allowed  to  "set"  in  the  dark. 

An  actual  photographic  emulsion 
is  made  by  adding  solutions  of  silver 
nitrate  and  sodium  bromide  to  a 
warm  solution  of  gelatine.  A  chemi- 
cal   reaction    occurs    in    which    these 


PROPERTIES   OF   DIFFERENT   TYPES   OF   MOTION-PICTURE    FILM 


PROPERTY  OF  BASE  OR  FILM 

5-mil 

CELLULOSE 

NITRATE 

5i-mil 
CELLULOSE 
DIACETATE 

5i-mil 
CELLULOSE 
ACET0- 
PR0PI0NATE 

5i-mil 

CELLULOSE 

TRIACETATE 

if- mil 
CR0NAR 

Tensile  strength  (lbs/in2) 

15,000 

10,000 

1 1 ,000 

13,000 

16,000 

Elongation  at  break  {%) 

10 

20 

10 

5 

70 

Tear  strength  (grams) 

65 

^5 

55 

60 

180 

Rigid  ity  (105  lbs/in2) 

6.5 

lf.0 

k.2 

5-3 

5-5 

Flexibility  (folds) 

16 

7 

16 

15 

20,000 

Swelling,  30  min  water 

0  17 

0.52 

0A7 

0.37 

0.07 

Per  cent  shrinkage: 
2  yrs.  storage 
2  yrs  projection  use 

0.30 
0  60 

0.!*0 

1.5 

0.35 
1  . 

0.25 

o.to 

0.05 
0.05 

Decomposition  temp  F  (  ) 

300-380 

375 

400 

h-50 

700 

Focus  drift 

Moderate 

Great 

Great 

Moderate 

Slight 

Buckling  effects 

Slight 

Great 

Great 

Moderate 

Slight 

Frame  embossing 

Slight 

Moderate 

Moderate 

Moderate 

Slight 

Brittleness  tendency 

Slight 

V.  great 

Great 

Moderate 

None 

Rel  projection  life 

1200 

t+oo 

600 

1000 

10,000 

Solubility  in  solvents: 

Alcohol  &  ether  mixt 

sol 

si.  sol. 

insol. 

insol. 

insol. 

Acetone 

sol. 

sol. 

sol. 

si.  sol. 

insol. 

Methyl  acetate 

sol. 

si.  sol. 

sol. 

si  sol. 

insol. 

Isoamyl  acetate 

sol. 

insol. 

insol. 

insol. 

insol. 

Acetic  acid  (glacial) 

sol. 

sol. 

sol. 

sol. 

insol. 

Dloxane 

sol. 

sol. 

sol. 

sol. 

insol. 

Chloroform 

insol. 

si.  sol. 

si.  sol. 

si.  sol. 

insol. 

Methylene  chloride 

si.  sol. 

sol. 

sol. 

sol. 

insol. 

two  salts  are  converted  to  the  desir- 
ed insoluble  silver  bromide  and  to 
soluble  sodium  nitrate,  a  by-product. 

Smal  lamounts  of  chlorides  and 
iodides  may  be  introduced  into  the 
gelatine  solution  to  make  emulsions 
of  special  photographic  properties, 
while  panchromatic  and  infrarad 
negative  emulsions  require  the  addi- 
tion of  sensitizing  dyes.  Without 
these  special  dyes,  the  film  would 
be  sensitive  only  to  blue,  violet,  and 
ultraviolet  rays,  and  all  yellow, 
orange,  and  red  objects  would  photo- 
graph as  black! 

To  make  negative  emulsions  "fast- 
er," or  more  light-sensitive,  they  are 
ripened  for  prescribed  periods  of 
time  at  high  temperatures  before  be- 
ing coated  upon  the  base  material. 
Because  the  ripening  process  also  in- 
creases the  size  of  the  silver-salt 
grains,  the  fastest  films  are  inclined 
to  give  "grainy"  images.  The  posi- 
tive emulsions  employed  for  release- 
print  films  are  neither  sensitized  to 
the  longened  wave  lengths  of  light 
nor  ripened  for  increased  photo- 
graphic speed.  They  are  thus  "slow" 
and  red-blind,  but  also  remarkably 
fine-grained. 

Gelatine,  so  necessary  to  the  manu- 
facturer of  photographic  films,  is  an 
unusual    substance.      It    can    absorb 

(FIG  1)    

large  amounts  of  water  without  dis- 
solving. The  gelatine  merely  swells. 
Up  to  a  limit,  it  can  be  repeatedly 
melted  by  warming  and  "set"  by 
cooling. 

Contrary  to  popular  opinion, 
gelatine  does  not  occur  in  nature. 
It  is  a  derived  protein  made  by  chem- 
ical treatment  of  collagen,  the  prin- 
cipal protein  of  the  connective  tissue 
found  in  muscle,  hide,  and  the  os- 
sein of  bones. 

Gelatine  contributes  to  the  photo- 
graphic sensitivity  of  the  silver 
bromide  crystals,  and  it  allows  de- 
velopers and  other  processing  solu- 
tions to  enter  and  leave  the  emul- 
sion without  dissolving  it.  It  would 
indeed  be  difficult  to  find  a  satis- 
factory substitute  for  gelatine  in 
photography. 

The  substrate,  or  thin  bonding 
layer  of  gelatine  directly  coated 
upon  the  transparent  base  material 
is  necessary  because  the  emulsion, 
itself,  is  water-attracting,  while  the 
base  is  water-repelling.  In  order  to 
obtain  a  coating  of  emulsion  of  uni- 


12 


International  Projectionist 


June,  1964 


form  thickness,  therefore,  a  special 
tvpe  of  clear  gelatine  having  both 
"water-loving"  I  hydrophilic  I  and 
"u  ater  •  dreading"  i  hydrophobic  l 
properties  is  chosen  for  the  all-im- 
portant   sublayer. 

What  about  the  plastic  film-base 
material,  itself?  A  gelatine  film, 
alone,  would  be  too  fragile  and  di- 
mensionally  unstable  to  serve  as  a 
motion-picture  film.  \  relatively 
tough  transparent  support  material 
must  he  used  to  give  the  film  the 
uecessar)  strength  and  rigidity.  \- 
a  matter  of  fact,  the  qualities  of 
the  base  are  largely  responsible  for 
the  working  and  handling  properties 
of  all  the  different  available  types 
of    motion-picture    film.      Yi  hen    the 

Photographic  emulsion 

.£$ 

Gelatine 
substrate 


Plastic   base,  or 
"emulsion    support" 

Fig.  1 — Motion-picture  film  consists 
of  a  relatively  thick  plastic  base  upon 
which  is  coated  (1)  a  thin  transparent 
layer  of  banding  gelatine  and  (2)  a 
somewhat  thicker  layer  of  photographic 
emulsion  consisting  of  silver  salts  in 
gelatine.  The  emulsion  of  dye-coupler 
color  film  consists  of  three  or  more 
very  this  layers. 

projectionist  blames  a  specific  kind 
of  film  for  poor  splicing  character- 
istics, excessive  buckling,  rapid  wear 
of  the  perforations,  etc.  he  usuallv 
land  rightly)  blames  the  base  ma- 
terial. 

I  wo  broad  categories  of  film  base, 
nitrate  and  safety,  have  been  known 
since  the  early  days  of  the  art.  but 
the  chemical  nature  of  safety  base 
has  been  changed  repeatedly  to  im- 
prove its  working  qualities  and  to 
make  it  comparable  to  nitrate  base 
in  strength,  toughness,  rigidity,  flex- 
ibility, and  resistance  to  the  wear 
and  tear  of  repeated  projections. 
Even  though  it  was  preferred  for 
half  a  century  for  professional  mo- 
tion-picture film  because  of  its  un- 
equalled physical  properties,  nitrate 
base  is  dangerously  inflammable — 
almost  explosive — and  liable  to  ex- 
cessive shrinking  and  to  spontaneous 
deterioration  with  the  passage  of 
time. 

Nitrate  base  is  a  form  of  cellu- 
lose nitrate  made  by  treating  cot- 
ton or  paper  with  strong  nitric  and 
sulfuric  acids.  The  pure  cellulose 
nitrate,  called  Collodion,  is  subse- 
quently dissolved  in  a  solvent  I  ace- 
tone or  a  cheap  mixture  of  alcohol, 

International  Projectionist  June,  1964 


ether,  and  banana  oil )  containing 
"plasticizers"  i  camphor  and  tricresyl 
phosphate  I  to  increase  the  tough- 
ness and  pliancy  of  the  material  as 
well  as  to  reduce  the  tendency  to 
shrink   and   become  brittle. 

The  common  name  of  the  com- 
pleted base  material  is  celluloid,  first 
manufactured  bv  John  Wesley  Hyatt 
in  1872.  The  first  celluloid  photo- 
graphic film  was  produced  in  1887 
by  Hannibal  \\  illiston  Goodwin  of 
Newark.  N.  J.,  who  received  an  or- 
der dated  September  2.  1889  from 
Edison  for  one  roll  of  such  film  at 
$2.50.  \  year  earlier,  however.  Edi- 
son had  obtained  nitrate  film  from 
George  Eastman,  who  must  be  re- 
garded as  the  first  manufacturer  of 
a  satisfactory    nitrate   film   stock. 

Safer)  motion-picture  film  is  very 
nearly  as  old  as  nitrate  stock,  but 
until  the  late  1940's  it  was  larger) 
confined  to  amateur  and  other  non- 
professional applications.  The  old- 
tvpe  cellulose  diacciair  safet)  base 
was  first  made  on  a  large  scale  in 
1908  by  the  German  chemical  firm 
of  Bayer  (the  originator  of  aspirin). 
This  base  material  is  made  bv  sub- 
stituting acetic  acid  lor  acetic  an- 
hydride i  for  the  nitric  acid  of  the 
usual  celluloid-manufacturing  pro- 
cess: and  in  order  to  make  the  safet) 
film  soluble  in  acetone  and  other 
common  film-cementing  solvents,  the 
degree  of  acetylation  was  purposely 
limited  hv   hydrolysis. 

Vspirin  and  di  acetate  film  base 
were  an  appropriate  combination,  for 
the  costliness,  low  tensile  strength, 
shrinkage,  and  excessive  brittleness 
of  the  old-type  safet)  film  were  pro- 
ductive id  headaches  aplentv .  The 
professional  motion-picture  field 
had  no  choice  but  to  reject  diacetate 
film  from  the  outset,  and  in  spite  of 
w  idespread  dissatisfaction  with  the 
dangers  of  nitrate  film. 

By  using  other  organic  acids  in 
conjunction  with  acetic  acid,  a  num- 


ber of  "mixed-ester"  celluloses  have 
been  obtained  and  used  as  film  base. 
The  best  known  are  cellulose  aceto- 
butyrate  and  acetopropionate.  the 
latter  having  constituted  the  safety 
film  of  Eastman  Kodak  manufacture 
from  1937  to  1948.  Although  some- 
what more  satisfactory  than  diace- 
tate base,  acetopropionate  film  lack- 
ed the  strength  and  durability. 

The  big  break-through  in  safety 
film  was  the  discovery  of  German 
scientists  that  a  cellulose  somewhat 
more  highl)  acetylated  than  the 
diacetate*  furnishes  a  material  for 
film  base  which  more  nearly  resem- 
bles nitrate  base  in  working  prop- 
erties while  retaining  the  advanlage 
(Continued) 


THE  VERY  FINEST  PROJECTOR  PARTS 


ARE    MADE    BY 


There's  nothing  like  them  for  pre- 
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tion, efficiency  in  operation,  depend- 
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SINCE     19  0  8 


MACHINE    WORKS 

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TELEPHONE— AREA  312— ES  8-1636 


13 


of  non-inflammability.  This  is  the 
so-called  triacetate*  base  which  is 
now  universally  used  for  theatre- 
release  prints,  but  first  manufac- 
tured as  early  as  1939  by  the  Ger- 
man photographic  firm  of  Agfa. 
Production  of  triacetate  film  was  cur- 
tailed during  World  War  II.  but  was 
resumed  in  1948  when  Eastman 
Kodak  led  the  way  by  adopting  it 
as  a  replacement  for  nitrate,  the  man- 
ufacture of  which  was  totally  dis- 
continued   in    1950. 

All  of  the  professional  35-mm 
negative  and  positive  film  stock 
regularly  supplied  to  the  industry 
in  both  Europe  and  America  is  now 
made  of  triacetate  safety  base. 
Representative  are  the  acetate  film 
stocks  manufactured  by  Agfa  (Lever- 
kusen ) ,  Agfa  ( Wolfen  ) ,  Ansco.  Du- 
Pont.  Eastman  Kodak,  Ferrania,  Ge- 
vaert,  Hauff,  Ilford.  Kodak  Ltd. 
( London  ) ,  Kodak  Pathe,  Lainer  & 
Hrdliczka,    Mimosa,    and    Perutz. 

In  general,  triacetate  film  is  al- 
most as  good  for  projection  pur- 
poses as  nitrate;  and,  of  course,  it 
possesses  the  supreme  advantage  of 
being  completely  safe  under  all  con- 
ditions of  use  and  handling.  Acetate 
film  burns  much  less  readily  than 
paper  or  wood,  and  it  will  not  sup- 
port combustion  at  all  when  wound 
up  in  a  roll:  it  is,  in  fact,  com- 
pletely devoid  of  fire  danger. 

Triacetate  film  is  superior  to  ni- 
trate in  at  least  a  few  other  ways, 
e.g.,  it  does  not  decompose  on  long- 
term  storage,  and  it  shrinks  a  bit 
less  than  nitrate  with  age.  Modern 
triacetate  film  is  almost  (but  not 
quite)  as  strong  as  nitrate  film,  and 
it  is  almost  (but  not  quite)  as  long- 
wearing  in  use. 

Triacetate  is  undeniably  a  big  im- 
provement over  diacetate  and  ace- 
topropionate  in  regard  to  brittleness, 
but  even  though  initially  very  pliant, 
repeated  projections  cause  it  to  be- 


*  A  10-octave  frequency  range 
means  that  the  lowest  frequency  is 
doubled,  the  resulting  product  like- 
wise doubled,  etc.,  for  a  total  of  10 
times.  The  mathematical  formula  is 
a  equals  512b,  in  which  a  is  the  high- 
frequency  limit  and  b  is  the  ow- 
frequency  limit. 

*  The  Greek  letter  77  ("pi") 
represents  a  definite  transcendental 
number  which  cannot  be  exactly  ex- 
pressed as  a  rational  integer.  Ap- 
proximately equal  to  3.1416,  it  is  the 
ratio  of  the  circumference  of  a  circle 
to  its  diameter.  Its  reciprocal  (1/77-) 
equals  0.3183,  approximately.  See 
Chapter  30  of  Mitchell's  Manual  of 
Practical  Projection  for  an  easy-to- 
understand  explanation  of  a  few 
common  mathematic?l  terms  with 
which  the  projectionist  should  be 
familiar. 

14 


come  more  brittle  than  nitrate  film. 
This  has  been  as  much  of  a  nuisance 
with  TV  stations  using  16-mm  film 
as  with  theatres  using  standard-gauge 
prints  The  tear  strength  of  brittle 
triacetate  film  still  in  usable  condi- 
tion is  scarcely  30  to  40  grams, 
whereas  that  of  fresh  triacetate  stock 
of  the  same  thickness  ( approximately 
5V2  mils)  is  close  to  60  g  (ASTM 
method  D689-42T  at  45  per  cent  rela- 
tive humidity ) . 

Also,  triacetate  film  is  a  trifle 
more  liable  than  nitrate  to  perma- 
nent deformation  by  mechanical 
stress  when  it  is  heated,  as  by  the 
arc-lamp  beam  at  the  aperture  of  a 
projector.  Nitrate  film  also  softens 
when  heated,  but  instead  of  soft- 
ening at  relatively  low  temperatures 
(viz.  200  degree  F,  the  soft-base), 
it  retains  a  fair  degree  of  rigidity 
until  the  temperature  approaches 
close  to  300  degree  F.  which  is  high 
enough  to  be  dangerous  in  the  case 
of  old  nitrate  prints. 

Softening  of  triacetate  film  makes 
it  more  liable  to  become  permanently 
buckled  by  projection  with  powerful 
arc  lamps,  and  it  becomes  increas- 
ingly brittle  each  time  it  is  heated 
and  cooled:** 

Even  though  nitrate  film  is  no 
longer  manufactured,  and  is  pro- 
hibited by  law  in  most  European 
countries  it  is  useless  to  deny  the 
fact  that  the  desirable  projection 
qualities  of  fresh  nitrate  stock  are 
still  the  ideal  toward  which  im- 
provements in  acetate  film  are 
aimed. 

Acetate   Results 

When  it  comes  to  old,  well-sea- 
soned prints,  acetate  films  give  bet- 
ter screen  results  than  nitrate  films 
which  have  also  been  much  used. 
This  is  because  well-worn  nitrate 
film  shrinks  and  deteriorates  physi- 
cally more  than  acetate  does. 

The  greatest  amount  of  linear 
shrinkage  of  nitrate  film  seen  by 
the  writer  was  1.7  per  cent  in  some 
used  theatre  prints  made  during 
World  War  I.  Film  as  shrunken  as 
this  really  "sings"  on  the  sprockets, 
making  such  loud  buzzing  and  crack- 
ling noises  that  the  projectionist 
may  fear  imminent  breakage.  Care- 
ful control  of  the  nitration  process 
and  the  use  of  superior  plasticizers 
resulted,  in  later  years,  in  nitrate 
positive  stock  which  shrank  onlv 
about  0.30  per  cent  after  a  2-year 
storage  period  under  ideal  condi- 
tions, or  0.60  per  cent  after  2  years 
of  wear  and   tear  in  the  theatres. 


Triacetate    Shrinkage 

The  frequently  repeated  statement 
tha  ttriacetate  film  is  practically  im- 
mune from  shrinkage  is,  of  course, 
completely  untrue.  It  shrinks  less 
than  nitrate;  but  the  usual  triacetate 
base  formulated  for  theatre-release 
positive  does  shrink  appreciably  and 
it  becomes  more  brittle  than  nitrate. 

Tests  on  different  brands  of  tri- 
acetate projection  film  reveal  that 
this  type  of  film  shrinks  0.25  per 
cent  after  2  years  of  storage  and 
about  0.40  per  cent  after  2  years 
of  heavy  projection  duty  in  the- 
atres. In  other  words  triacetate 
shrinks  about  80  per  cent  as  much 
as  nitrate  after  2  years  of  storage, 
or  65  per  cent  as  much  after  a  like 
period  of  normal  projection  use. 
It  must  be  kept  in  mind,  however, 
that  different  samples  of  different 
brands  of  film  show  a  wide  vari- 
ance in  the  rate  of  shrinkage. 


Special   Base 

A  special  triacetate  base  has  been 
formulated  for  motion-picture  nega- 
tive which  shrinks  up  to  0.18  per 
cent  after  2  years  of  storage,  and 
never  seems  to  exceed  the  low  shrink- 
age of  0.20  per  cent  no  matter  how 
long  it  is  stored!  This  type  of  base  is 
unfit  for  projection  purposes,  how- 
ever, because  the  heat  of  the  arc 
lamp  expels  the  plasticizers  and 
causes  it  to  become  excessively 
brittle. 

The  shrinkage  of  release-positive 
stock  it  an  important  factor  in 
the  design  of  projector  sprockets, 
especially  the  intermittent  sprocket. 
The  perforations  of  freshly  made 
35-mm  positive  raw  stock  are  spaced 
0.187  inch  from  the  edge  of  one 
sprocket  hole  to  the  film  cements 
and  dimensional  change.  In  some 
ways  polycarbonate  resembles  ace- 
tate. There  are  no  good  solvents  for 
Cronar,  which  is  formed  into  film 
by  extrusion  when  molten.  Polycar- 
bonate, on  the  other  hand,  can  be 
dissolved  in  certain  liquids  and 
"cast"  in  the  usual  way  onto  the 
polished  surface  of  a  slowly  revolv- 
ing drum.  There  is  some  question  as 
to  whether  polycarbonate  is  suffi- 
ciently rigid  for  motion-picture  film, 
and  to  date  it  is  used  chiefly  for 
graphic  arts  sheet  film  in  applica- 
tions requiring  an  extremely  thin 
base  and  freedom  from  dimensional 
change  under  varying  conditions  of 
temperature    and   humidity.  iP 


International  Projectionist 


June,  1964 


Screen  luminescence  was  "better  than  new"  after  a  12-year-old  Planetarium 
dome  was  repainted  with  velvet  coating.  Glare  was  eliminated.  The  dome  is  65 
feet  in  diameter,  with  a  nine-foot  horizon  line  and  an  apex  at  41.5  feet  above 
the  center  of  the  floor. 

Planetarium  Dome  Is  Rejunevaled 
By  New  3M  Velvet  Coating 


Housekeeping  problems  in  a 
planetarium  are  compounded  1>\  its 
scientific  orientation.  This  is  es- 
pecial!) true  in  the  mallei  of  screen 
luminescence,  a>  demonstrated  re- 
centl)  at  the  Morrison  Planetarium 
of  the  California  Vcadem)  <>f 
Sciences,  San  Francisco: 

"Painting  the  12-year-old  dome 
with  a  virtually  perfect  light-diffus- 
oating  has  enabled  us  to  screen 
a  better  presentation  todaj  than  at 
an\  time  in  the  planetarium's  his- 
tory,"  according  to  Alvin  C.  Gund- 
red.  supervisor  of  instrument  shops 
and  technical  advisor  ot  the  plane- 
tarium. "That  screen  surface  is  bet- 
ter   than    new. 

After  a  dozen  years,  it  became  ap- 
t  that  the  domed  screen  of  this 
planetarium,  opened  to  the  public 
in  November.  1052.  was  losing  some 
of  its  luster.  Quality  of  the  project- 
ed   imanes    deteriorated    so    that    the 


loss  \va>  readil\    noticeable  t<>  the  ex- 
perineced  staff,  Gundred  said. 

This  problem  ol  screen  lumiiu  - 
cence  is  particularl)  acute  for  a 
planetarium,  where  spectators  must 
be  able  to  see  images  of  stars  and 
planets  clearl)  from  extreme  viewing 
angles.  Depending  on  the  scat  lo- 
cation, an  imperfect  screen  surface 
can  create  either: 

1  i    Dull   images  caused  by  a  loss 

of  surface  reflectance,  or 

2  i     \   flared  effect  from  too  much 

reflectance  at  extreme  viewing 

angles. 
Attention     to     image    presentation 
qualities   of  a   screen   is  part   of  the 
continuing  maintenance  function  per- 
formed by  Gundred. 

He  supen  ised  much  of  the  four- 
and-a-half  year  program  for  the 
building  and  installation  of  the  pro- 
jection instrument  of  this  planetar- 
ium.   Since    then,    he    has    been    re- 


sponsible for  continuous  maintenance 
and  calibration  of  the  instrument 
and    of   scientific   exhibits. 

Qualtity  maintenance  has  been  a 
vital  factor  in  the  establishment  of 
a  record  of  perfect  performance — 
Morrison  Planetarium  has  never  can- 
celled a  show  because  of  mechanical 
failure   of   its  projection   equipment. 

This  is  noteworthy  because  the 
instrument  complex  contains  141  pro- 
jectors which  cast  images  of  some 
3,800  individual  stars  and  planets. 
Operation  of  this  equipment  utilizes 
321  separate  lenses,  304  operating 
bearings.  158  gears  and  220  relay 
switches  interconnected  with  more 
than  four  miles  of  wire. 

^ears  of  continuous  operation 
took  their  toll  on  the  surface  condi- 
tion of  the  dome.  To  achieve  glare- 
lice  luminescent  surfaces  in  both 
the  white  and  the  black  areas  of  the 
planetarium  interior,  Gundred  se- 
lected ;i  single  coat  of  3M  brand  vel- 
vet coating  (Series  200).  This  ma- 
terial is  an  air  drying  lacquer  de- 
signed  for  spray  application  and  full 
coverage  of  any  primed  surface  with 
a   single  eoat   . 

I  he  3M  velvet  coating  is  designed 
specifically  to  diffuse  incident  light 
while  retaining  a  high  reflectance 
capacity.  In  the  case  of  the  white 
lacquer  applied  to  a  domed  screen 
of  a  planetarium,-  this  means  that 
spectators  watching  a  star  image 
virtuall)  head-on  from  the  projection 
angle  are  not  bothered  by  glare. 

But  the  same  image  seen  by  per- 
sons on  the  other  side  of  the  room 
reflects  more  brightly  and  more  ex- 
ac||\  than  ordinary  flat  paints.  Re- 
sult: the  screen  image  remains  uni- 
form  throughout  the  auditorium. 

The  only  pre-painting  preparation 
necessary — aside  from  scaffolding — 
was  to  vacuum  the  top  of  the  dome. 
Morrison  Planetarium  has  a  two- 
inch-thick  pad  of  fiberglass  above 
its  dome  to  deaden  echos  and  to  pro- 
tect the  accoustical  quality  of  the 
room.  Lectures  are  carried  to  the 
audience  through  the  perforated 
screen  of  the  dome  via  40  speakers. 

The  screen  perforation  is  a  pat- 
tern of  one  1/16"  hole  every 
1/4".  The  vacuuming  removed  dust 
from  above  the  screen,  eliminating 
the  chance  of  having  holes  plugged 
because  lacquer  adhered  to  dust.  iP 


CARBON  ARCS   .   .   .   for  finest  Projection   .   .   .   Compact  Xenon  Arcs 


JtoWuUne  Ale  Gasikotvi 

division 

•  Brighter  Light  on  Screen 

•  Longer  Burning  per  Carbon 

*  More  Economical  ...  / 


CARBONS,   INC. 


j?mojv 


products 


moss  LAMPHOUSES  •  Juntos/  POWER  SUPPLIES 

by  Cinemeccanica  by  Christie 

BOONTON.   N.J. 


International  Projectionist 


June,  1964 


15 


Three  Execs  Appointed 
In  Kodak  Ad  Dept. 

Appointments  for  three  Eastman 
Kodak  advertising  executives  have 
been  announced  by  A.  Dexter  John- 
son, director  of  advertising  and  an 
assistant  vice-president  of  the  com- 
pany. 

Robert  W.  Brown  has  been  ap- 
pointed manager  of  advertising  ser- 
vices. He  will  be  responsible  for 
Kodak's  editorial  service  bureau, 
the  photo  services  and  the  photo- 
graphic illustrations  divisions,  ad- 
vertising production  and  scheduling 
and,  in  addition,  will  supervise  ad- 
vertising budgeting,  research,  per- 
sonnel, and  media  co-ordination. 

Leo  W.  Young  has  been  appointed 
manager  of  consumer  advertising. 
His  responsibility  will  be  concerned 
with  the  advertising  of  still  and 
movie  equipment,  amateur  film,  and 
other  photographic  products  and 
services  in  the  consumer  area. 

Robert  W.  Edwards  has  been  ap- 
pointed manager  of  professional  and 
industrial  advertising.  He  will  be 
concerned  with  the  supervision  of 
advertising  in  professional,  indus- 
trial, commercial,  and  scientific 
areas  and  with  the  advertising  of 
other  Kodak  products  for  specialized 
markets.  iP 

J.  R.  Stiftel  Named 
SMPTE  Staff  Engineer 

Joseph  R.  Stiftel  has  been  ap- 
pointed as  assistant  staff  engineer 
for  the  Society  of  Motion  Picture 
and  Television  Engineers  ( SMPTE ) . 
In  this  new  position,  Mr.  Stiftel 
will  be  primarily  responsible  for 
augmented  quality-control  procedures 
in  the  SMPTE  test-film  program,  and 
will  assist  in  the  development  of  new 
test  films.  His  appointment  was 
announced  June  2  in  New  York. 

For  three  years  until  his  appoint- 
ment to  the  SMPTE  headquarters 
staff,  Mr.  Stiftel  was  employed  in 
the  Thin  Film  Solid  State  Electronics 
Program  at  General  Telephone  and 
Electronic  Laboratories  in  Bayside, 
N.  Y.  At  General  Telephone  he  was 
directly  involved  in  the  research  and 
development  of  a  solid-state  television 
display   panel. 

Mr.  Stiftel,  before  joining  Gen- 
eral Telephone,  was  in  the  systems 
engineering  department  of  Mergen- 
thaler  Linotype  Co.,  where  he  assist- 
ed in  research  on  a  photocomposi- 
tion system  and  an  infrared  electro- 
optical  scanning  system. 

His  educational  background  in- 
cludes work  at  the  University  of  Den- 
ver, Syracuse  University,  the  State 
University  of  New  York  and  the  Air 

16 


Force  Photographic  and  Electronics 
School.  Mr.  Stifel  holds  a  New  York 
State  vocational  teachers  license  for 
profesisonal  35mm  motion-picture 
projection.  iP 

S.O.S.  Home  Office 
In  Midtown  Manhattan 

Alan  C.  Macauley,  President  of 
S.O.S.  Photo-Cine-Optics,  Inc.,  New 
York  City,  has  announced  moving 
the  home  office  to  a  larger,  more 
convenient  location  at  387  Park 
Avenue  South  in  Mid-town  Manhat- 
tan, two  blocks  from  Fifth  Ave.,  and 
minutes  from  Times  Square,  Grand 
Central,  Eastside  Airlines  Terminal 
and    Penn    Station. 

The  new  headquarters  has  over 
18.000  square  feet  on  one  floor  with 
the  newest  most  modern  Display 
Room  in  the  industry,  and  complete- 
ly separate  warehousing  facilities 
under  the  same  roof. 

The  38-year-old  company  with  its 
newly  expanded  operation,  is  the 
largest  professional  motion  picture 
equipment  organization,  with  coast 
to  coast  offices,  devoted  entirely  to 
sales  and  service.  According  to 
Macauley,  the  move  was  scheduled 
to  be  completed  June  30.  iP 

Radiant's  Screen  Surface 
Used  in  New  Process 

Preview  Production,  Inc.,  of  Van 
Nuys,  California,  selected  Radiant 
Mfg.  Corp's  new  silica-textured 
screen  fabric,  "Micro-Fleet"  as  the 
projection  screen  material  to  be  used 
in  demonstrating  their  new  type  opti- 
cal process  called   "Cine-Depth". 

Micro-Fleet  is  created  by  "Deep- 
Bonding"  the  smallest,  optically  pure 
glass  beads  ever  used  on  a  screen 
surface,  to  a  specially  prepared 
double-coated  plastic  base.  This  as- 
sures brightness  at  all  viewing 
angles  and  makees  the  viewing  of 
color  movies  and  slides  a  fresh,  stim- 
ulating and  delightful  experience. 
Among  the  advantages  of  Micro- 
Fleet  is  its  resistance  to  fungus  and 
flame. 

Micro-Fleet  is  being  used  in  Radi- 
ant's new  1964  line  now  available-  - 
the  Radiant  PictureMaster.  Film- 
Master  and  the  two-second  opening 
"AutoMaster".  iP 

EPRAD  Elects  Elmer 
Wilschke  Vice  President 

Elmer  O.  Wilschke,  who  joined 
EPRAD,  Inc..  September,  1963,  has 
been  elected  vice  president  of  the 
Toledo,  Ohio  manufacturing  firm, 
according  to  Al  Boudouris,  president 
of  EPRAD,  Inc. 

In  addition  to  his  duties  as  vice 
president,  Wilschke  will  continue  in 


his  capacity  as  general  manager. 

Boudouris  credited  Wilschke  as 
playing  a  significant  role  in  the  de- 
velopment of  EPRAD's  CARCHEK 
Electronic  Boxoffice  Cash  Control 
System  for  use  by  the  Theatre  In- 
dustry. 

Wilschke,  one  of  the  original 
E. R.P.I,  engineers,  served  in  various 
capacities  in  this  country  and 
abroad  until  the  formation  of  Altec 
Service  Corporation,  at  which  time 
he  was  Eastern  Division  Manager. 
During  the  war,  he  was  plant  mana- 
ger of  Altec-Lansing  Company  and 
after  the  war  served  as  general  op- 
erating manager  for  Altec  Service 
Company.  iP 

Strong  Equipment  Is 
Widely  Used  at  Fair 

Visitors  to  the  World's  Fair  can 
see  Strong  Electric  Corporation 
products  used  in  every  section  of  the 
fair,  the  U.  S.  Government,  indus- 
trial, foreign,  state,  amusement  and 
transportation   areas. 

Many  of  the  larger  exhibits  are 
employing  Strong  carbon  arc  fol- 
low spotlights,  incadescent  follow 
spotlights,  carbon  arc  projection 
lamps,  Xenon  projection  lamps  for 
automated  programming,  and  recti- 
fiers for  the  projection  of  film  pre- 
sentations or  lighting  of  live  stage, 
water  and  ice  shows. 

They  include  the  U.  S.  Federal 
Government.  IBM,  United  Air  Lines, 
Dupont,  the  Hall  of  Science,  Better 
Living  exhibit.  Spanish  Pavilion, 
the  Texas  Pavilion,  and  amphithe- 
atre using  a  total  of  57  equipments. 

iP 

Supplemental  Lens  Now 
Available  for  Omnitar 

The  new  Birns  &  Sawyer  Telebar 
supplemental  lens  is  designed  to  en- 
hance the  capability  and  versatility  of 
the  famous  Omnitar  telephoto  lens 
family  by  extending  the  effective 
focal  length  of  Omnitar  lenses  rang- 
ing from  300mm  through  1000mm 
by  70%. 

For  example,  the  regular  500mm 
Omnitar  telephoto  lens  increases  its 
effective  focal  length  to  850mm  when 
used  with  the  Telebar  supplemental 
lens.  The  regular  1000mm  Omnitar 
is  increased  to  1700mm  when  used 
with  the  Telebar. 

The  Telebar.  a  fluoride-coated, 
two-element  Achromat  lens,  provides 
an  extremely  sharp  image.  One  end 
of  the  Telebar  housing  is  threaded 
to  fit  the  existing  adapter  locking 
ring  provided  with  the  Omnitar  tele- 
photo lens.  A  rear  locking  ring  lo- 
cated on  the  housing  secures  the 
lens  assembly  to  the  adapter.         iP 


International  Projectionist 


June,  1964 


Cinerama  Exhibits  Quartet 
Of  New  Facilities,  Techniques 


In  the  past  few  weeks  a  quartet  of 
unusual  new  motion  picture  ideas 
have  been  put  on  public  display  l>\ 
Cinerama,  Inc.  These  range  from 
portable  movie  theaters  and  ultra- 
wide  screen  drive-ins  to  experimental 
film  processes  at  the  World's  Fair. 
In  total,  the)  reveal  a  major  step 
forward  in  the  art  of  motion  picture 
production  and  exhibition  and  indi- 
i  ate  the  pattern  of  much  future 
development  for  the  entertainment 
industry . 

On  April  27th.  in  the  small  town  o! 
Richmond,  England,  just  outside  of 
London,  the  world'-  first  mobile 
movie  house  was  premiered.  Much 
like  a  circus  tent,  the  plastic-treated 

Canvas  portable  movie  house  will 
-t  iv  Beveral  weeks  at  a  location,  then 
moved  man)  miles  awa)  to  a  new 
locale.  Intended  for  use  in  the  l>  — 
populous  areas  of  the  world.  Ciner- 
ama has  50  of  these  thousand-seat 
tent  theaters  in  the  planning  -ia^<- 
for  Kurope.  Africa,  the  Middle  and 
Far  East,  and  the  I  nited  States. 

Cinerama  has  just  opened  the 
motion  picture  industry's  first  such 
drive-in       theater.       overcoming       the 

man)  problems  presented  b)  the  need 
for  a  huge  screen  and  ultra-powerful 
projection  equipment.  Pacific's  Cen- 
turv  Drive-in.  an  1100-car  outdoor 
theater  in  [nglewood,  California, 
opened  in  late  April  featuring  the 
world  -  largest  motion  picture  screen. 

\udiences  have  been  enthusiastic 
about  the  open-air  results,  and  a  great 

man)  additional  Cinerama  drive-ins 
are  scheduled  for  the  exhibition  pro- 
gram. 

\t  the  New  York  World's  Fair, 
Cinerama  is  responsible  for  two  of 
the  most  startling  film  techniques 
ever  shown  anj  w  lid  v.  U  the  Federal 
Pavilion,  the  film  companv  has  creat- 
ed for  the  L  nited  States  Government 
a  new  exhibition  system  in  which  the 
audience,  seated  in  large  open  vehi- 
cles, is  carried  through  a  Vi  mile- 
long  "tunnel"  comprised  mostlv  of 
121)  movie  screens  of  various  shapes 
and   sizes. 

At  the  Transportation  and  Travel 
Pavilion.  Cinerama  is  showing  its 
much-heralded  "Spacearium-360  de- 
gree" film  process,  in  which  viewers 
seated  in  swivel  chairs  look  up  into 
the  inner-side  of  a  massive  domed 
screen,  as  the  picture  surrounds  them 
on  all  sides  and  above. 

Both  of  these  revolutionary  World's 
Fair  movie  techniques  pioneered   by 

International  Projectionist  June,  1964 


Cinerama  may  be  considered  "envir- 
onmental" films,  where  the  spectator 
becomes  an  active  participant  in  the 
film  situation,  and  viewers  must 
actuall)  learn  a  new  wav  of  looking 
at  life-through-movies  to  get  the  lull 
benefits  of  these  experimental  Ciner- 
ama sv  stems.  But  each  conta  n- 
man)  elements  which  will  certaiiil) 
be  translated,  in  the  near  future,  into 
commercial  realitv  on  an  internation- 
al scale.  iP 

New   Carbon    Boasts 
High  Amps,  Low  Voltage 

ElectroCarbons,  \n-Lee,  Inc..  has 
announced  a  new  carbon  that  has 
been  years  in  the  laboratory  and  in 
the  experimental  field  and  is  now 
available  for  the  trade — a  heavily 
tungsten  -  impregnated  carbon  thai 
will  allow  a  much  higher  amperage 
at  a  verv   reduced  voltage.  Example: 

The  conventional  I  I  mm  carbons 
now  on  the  market  have  recom- 
mended amperages  "I  I'11'  to  120 
amp-    in    the   60   to   65-voll    range, 

burning    .it    21      per   hour   at   the    120 


amps.  The  new  Lee  Artoe  carbon 
has  an  amperage  range  of  100  to 
140  amps  in  the  48  to  56-volt  range, 
burning  rate  at  21"  per  hour  at 
the  140  amps.  At  the  same  burning 
rate  (21  inches  per  hour)  the  new 
carbon  will  give  25  per  cent  addi- 
tional light.  At  the  same  amperage 
range,  the  new  carbon  will  give  a 
10  per  cent  reduction  in  burning 
rate.  ElectroCarbons  says  that  the 
development  of  this  Lee  Artoe  car- 
bon  now  allows  the  drive-in  theatres 
using  an  11mm  carbon  to  get  an 
extra  25  per  cent  more  on  the  screen 
without  increasing  carbon  cost  or 
spending  large  sums  of  money  to 
convert  the  booth  to  the  large  lamp- 
houses  using  the  1.5.6mm  carbons. 
This  new  carbon  is  available  in  the 
I0mmx20  size,  the  llmmx20  size,  the 
13.6mmx20  inch  and  13.6mmx22 
inch  -i/e  only.  It  is  manufactured 
bv   Ship  Carbon  (*o.  of  Great  Britain. 

iP 

National  Studios 
Expands  Color  Lab 

Herman  Kosenberg.  president  of 
National  Studios.  Inc..  announced 
that  with  the  starting  of  their  52nd 
year,  thev  have  greatly  expanded 
their  color  department.  iP 


17 


Sloan  Circuit  Will 
Build  1350-Sear  House 

Plans  for  construction  of  a  1,350 
seat  theatre  at  Northland,  the  world's 
largest  regional  shopping  center,  in 
the  Detroit  suburb  of  Southfield, 
were  confirmed  by  Eugene  Sloan,  of 
the  family  operating  the  Sloan  Cir- 
cuit here.  This  marks  the  implemen- 
tation of  over  ten  years  of  plans  for 
a  major  theatre  at  Northland.  Plans 
for  the  theatre,  first  announced  by 
the  Wisper  and  Wetsman  Circuit,  at 
the  three  major  centers  planned  by 
J.  L.  Hudson  Company,  date  back 
several  years  earlier,  to  start  of  plans 
for  Eastland — a  theatre  still  un- 
built. 

The  new  house,  will  be  called  the 
Northland  Cinema,  with  Eugene 
Sloan  as  president  of  the  company 
of  the  same  name,  and  Irving  Gold- 
berg of  Community  Theatres  as  sec- 
retary. Ownership  will  be  divided 
between  the  members  of  the  same 
"syndicate"  which  owns  the  down- 
town first  run  Adams  Theatre  and 
the  suburban  Terrace  in  Livonia, 
including  also  Richard  Sloan,  Adolph 
Goldberg,  Lew  Wisper,  and  William 
Wetsman. 

Operating  policy  will  be  first  run, 
with  some  foreign  films.  The  new 
house  is  projected  as  the  "midwest's 
version  of  Radio  City  Music  Hall"  by 
Richard  Sloan.  iP 

Reeves  Sound  Industries 
Names  Nemec  to  Post 

Boyce  Nemec  has  been  elected 
Vice-president  of  Reeves  Industries, 
Inc.  (AMEX).  Nemec  is  also  Presi- 
dent of  Reevessound  Co.,  Inc.,  Long 
Island  City,  New  York,  a  wholly- 
owned  subsidiary  of  Reeves  Indus- 
tries. 

Nemec  is  widely  known  in  the 
field  of  photographic  technology  and 
motion  picture  engineering.  During 
the  second  world  war,  Nemec  served 
as  Chief  of  the  Equipment  Specifi- 
cations Branch  and  Assistant  to  the 
Director  of  the  Pictorial  Engineering 
and  Research  Laboratory  and  after 
that  as  Executive  Secretary  of  the 
Society  of  Motion  Picture  Engineers. 
In  both  positions,  Nemec  made  im- 
portant contributions  to  national  and 
international  standardization  of  mo- 
tion picture  equipment. 

As  President  of  Reevesound  Co., 
Inc.,  Nemec  has  guided  the  com- 
pany's efforts  in  the  design,  engi- 
nering  and  installation  of  several 
unique  systems  including  the  Inflight 
motion  picture  system  design,  now  in 
use  by  two  major  Airlines  and  those 
of  a  number  of  major  exhibitors  at 
the  World's  Fair.  iP 

18 


The  Cover  Story  .  . . 


Futura  I  Lamps  Increase 
Brightness  For  1c  An  Hour 


The  installation  of  Strong  Fu- 
tura I  arc  lamps  at  a  Macon,  Ga., 
drive-in  has  produced  a  dramatic  im- 
provement in  screen  light  at  very 
little  cost. 

The  41  Drive-In  Theatre,  part  of 
Georgia  Theatre  Circuit  operations, 
noted  a  drastic  change  when  the  1am- 
bert  measurements  at  the  center  and 
side  of  the  screen  was  doubled  with 
the  new  Strong  Futura  I  arc  lamps 
installed.  The  lamps  burned  at  97 
amperes  as  compared  to  the  former 
installation  which  burned  at  85  am- 
peres. The  increase  in  carbon  costs 
per  hour  amounted  to  only  1  cent. 

The  Georgia  Theatre  Circuit  has 
been  striving  constantly  to  increase 
its  all  around  efficiency  in  its  the- 
atres and  has  decided  that  the  first 


place  to  increase  efficiency  is  in  the 
projection  booth.  At  the  41  drive  in 
this  included  replacing  old  type  arc 
lamps  with  new  Futura  1.  Unbiased 
observers  measured  the  foot  lambert 
readings  with  the  old  equipment  and 
found  21/*?  foot  lamberts  ato  the  cen- 
ter and  P/2  foot  lamberts  at  the  side. 
This  is  well  under  the  recommended 
level  of  light  on  the  screen.  With  the 
new  equipment  the  foot  lamberts 
read  5  at  the  center  and  4  foot  lam- 
berts at  the  side.  This  is  an  80  per- 
cent light  distribution  which  exceeds 
standards  accepted  even  for  indoor 
theatres. 

Operating  costs  for  the  Futuras 
were  computed  at  36  cents  per  hour 
as  compared  with  35  cents  for  the 
former  lamps.  iP 


New  Methods  Cut  Expense 

Continued  from  page  5 

tising  panels,  displays,  sound  and 
projection,  and  all  items  connected 
therewith,  air  conditioning  and  heat- 
ing, maintenance,  merchandise  of  by- 
products, and  the  equipment. 

"At  least  until  you  get  started,  I 
heartily  recommend  that  you  support 
to  the  fullest  those  manufacturing 
concerns  which  have  been  desperately 
attempting  to  create  new  and  im- 
proved products — and  we  really  have 
quite  a  few. 

"There  is  a  new  and  improved 
screen  that  most  objects  will  not 
break  through. 

"There  are  new  lamphouses  em- 
ploying new  principles. 

"While  considerable  improvements 
have  been  made  in  some  U.  S. -built 
projectors,  the  major  advancements 
have  been  by  foreign  companies. 

"The  Xenon  lamp  appears  to  have 
a  bright  future. 

"There  are  new  theatre  seats  avail- 
able. 

"Improvements  and  new  ap- 
proaches have  been  made  in  change 
letter  displays. 

"Transistorized  sound  is  a  definite 
and  great  improvement.  However, 
we  need  factory-assembled  plug-in 
units,  eliminating  the  tremendous  on- 
site  assembly  costs;  and,  of  course, 
this  principle  of  simplicity  should  be 
a  major  consideration  of  any  future 
equipment  and  furnishings."  iP 


DIAMOND 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport,  Pa 


ASHCRAFT 

CORE-LIGHT 

SUPER  CINEX 

CINEX  SPECIAL 

PROJECTION  LAMPS 

And 

HIGH  RECTANCE 

MULTI-PHASE 

RECTIFIERS 

World's  Standard  of 
Projection  Excellence 


International  Projectionist 


June,  1964 


basic 
mathematics 

by  NOMA  AN  N.  CROWHUBST 


y 


f 


■ 
■    . 


VOLUMES 
1  through  4 
COMPLETE 

ROM  COUNTING 

IWOOGH  CAlCUlft 

A  MOOttti 

UNKKD  APPIOACH 

TO  MATHEMATICS 

A»  ITS  USB 


K*  AHIDER 


PRACTICAL 
METHOD 


♦ 


■». 


BASIC   MATHEMATICS 

by  Norman  H.  Crouhurst 

4-volume  'pictured-text'  course  makes  it  easier  than 
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I 


WE  WONDER  WHAT 

Sir  Humphrey  Davy 

would  have  thought  of 
the  new    F  U  T  U  R  A 


In  1800,  using  charcoal  electrodes,  connected  to  a 
battery,  he  produced  a  brilliant  flame  by  bringing 
the  electrodes  together  and  then  separating  them 
by  a  short  gap.  He  had  discovered  the  parent 
of  today's  carbon  arc,  the  brilliancy  of  which 
has  never  been  surpassed  by  another  man-made 
light  source. 

But  just  as  the  Wright  brothers'  first  plane  has 
been  replaced  by  today's  jets,  so  too  have  most 
previous  projection  arcs  been  outdated  by  Strong's 
Futura.  It  provides  that  extra  measure  of  light  for 
today's  big  drive-in  and  indoor  screens— the  greatest 
amount  of  light  ever  delivered  per  carbon  dollar. 

The  Futura  costs  less  to  buy  and  less  to  use  with 
all  35mm  and  70mm  projectors,  and  any  Strong 
dealer  can  prove  it. 


s\\f  ■ 


SEND  FOR  BROCHURE 


"X 


The 


Electric 


Corporation 

31  City  Park  Ave.  •  Toledo,  Ohio  43601 
Phone:  (419)  248-3741 


INTERNATIONA 

HMIMMIMi 


1     ■■ 


N 


One  of  the  first  theatres  to  install  the 
new  method  of  Cinerama  presentation  is 
The  Warner  in  New  York  City.  As  for  all 
other  theatres  presenting  this  technique, 
there  have  been  installed  National  Ventarc 
I  projection  lamps.  Joseph  Brandfon  is  shown 
with  three  of  these  blown  arc  type  lamps  in 
the  Warner  projection  room.  The  lamps 
were  installed  by  National  Theatre  Supply. 


JULY 

VOLUME  39 
40c  A  COPY 


1964 

NUMBER  7 

$3.00  A  YEAR 


I  A.T.S.E.  CONVENTION  ISSUE 


1.  Bonus  brilliance 

2.  Bonus  burning  time 


The  longer  your  throw  and  the  wider  your  screen,  the 
more  you  need  the  two  big  bonuses  that  go  with 
"National"  projector  carbons! 

So  why  short-change  yourself?  Why  settle  for  less 
when  you  can  fill  your  screen  with  today's  brightest 
light  and  get  longer  screening  time  per  inch  of  car- 
bon burned? 

Specify  "National"— and  you  specify  the  projector 
carbons  that  have  been  the  standard  for  quality 
screen  illumination  since  1917. 

"National"  is  a  registered  trade-mark  of 

UNION  CARBIDE  CORPORATION 

CARBON  PRODUCTS  DIVISION 
270  Park  Avenue  •  New  York,  N.Y.  10017 
In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL 

PROJ  ECTIONIST 


Volume  39 


July  1964 


No.  7 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY  GALLO 
Executive  Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO   ASSOCIATES 

National  Advertising  Representatives 

545  Fifth  Avenue,   New  York    17,   N.   Y. 

Telephone    Murrayhill    7-7746 

(Area   Code   212) 


IN  THIS  ISSUE 


I.A.T.S.E.  Convenes 


I.A.T.S.E.  Works  on  Consent  Decree 


Autoscope  System  Tried 


Sound  Track 

by  J.  G.  Jackson 

Queens  Theatre  Revamped 

News    Notes  —  Technical    Hints  —  Miscellaneous    Notes 


4 
5 
6 

8 
12 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
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copyrighted  1964  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO.  -ca^^ro 


MONTHLY  CHAT 

I.A.T.S.E.  CONVENTION 

As  this  issue  of  IP  comes  off  the  press,  I.A.T.S.E. 
will  be  meeting  in  Louisville.  Ky.  at  the  group's  47th 
annual  convention.  More  than  1,100  delegates  were 
expected  to  be  in  attendance  as  the  vital  issues  facing  the 
International  Alliance  are  discussed  and  acted  upon. 

On  the  agenda  are  some  items  that  may  be  casting 
shadows  on  that  assemblage  at  Louisville's  impressive 
Convention  Center.  Chief  among  these,  of  course,  are 
the  unemplo)  ment  problems  common  to  many  locals. 
Matters  of  grave  importance  to  the  60,000  or  more  mem- 
bers of  I.A.T.S.E.  are  being  covered  in  reports  ranging 
from  the  status  of  efforts  to  ease  the  industry's  tax 
burden  to  presentations  of  data  on  a  nation-wide  closed 
circuit   medium  and   a   newly   proposed  pension  plan. 

I.A.T.S.E.  President  Richard  F.  Walsh,  as  convention 
chairman,  will  be  conducting  the  sessions  according  to 
plans  drafted  during  the  week-long  meetings  of  the  board 
of  directors  that  preceeded  the  convention.  With  people 
of  this  caliber  hard  at  work  on  the  problems  that  face 
the  organization,  there  can  be  no  doubt  there  will  be 
some  break-throughs  soon  to  cheer  the  membership. 

It  is  most  appropriate  that  this  convention  is  being 
staged  in  Louisville,  for  it  was  there  30  years  ago,  with 
the  nation  climbing  out  of  the  depths  of  depression,  that 
I.A.T.S.E.  first  visited  the  city.  Viewing  how  small  an 
organization  convened  then,  and  how  great  their  prob- 
lems were,  and  reflecting  on  the  progress  that  has  been 
made  in  the  ensuing  years,  one  quickly  finds  many 
achievements  of  which  to  be  proud.  And  in  this  respect 
there  is  sufficient  reason  to  believe  any  shadows  that  may 
lurk   will   be  dispersed   before   long. 


A  Legal  Decision 

The  Stanley  Warner  Theatre  in  Norwalk,  Conn., 
agreed  to  pay  §330.00  a  week  to  the  Union  for  the  man- 
ning of  the  projection  booth.  The  Union  chose  to  employ 
three  men.  and  to  divide  the  $330.00  among  them. 

The  theatre  then  decided  to  eliminate  winter  matinees, 
and  the  Union  agreed  to  receive  $220.00  week  instead  of 
$330.00.  The  Union  was  still  to  have  the  exclusive 
control  of  the  number  of  men  and  the  number  of  hours, 
and  kept  three  men  working.  These  projectionists  made 
application  for  unemployment  compensation  for  each 
third  week  that  they  didn't  work,  and  their  applications 
were  granted.  After  an  appeal  by  the  theatre,  the 
Commissioner  of  Unemployment  Compensation  sustained 
the  granting  of  the  applications,  holding  that  the  men 
were  entitled  to  receive  benefits  because  they  were  idle 
each  third  week,  under  the  reduced  operating  schedule 
initiated  by  the  theatre. 

The  theatre  took  an  appeal  to  Superior  Court,  claim- 
ing that  their  reduced  hours  of  employment  were  agreed 
to  by  the  projectionists.  The  Court  ruled,  in  part:  "A 
voluntary'  cessation  of  employment  does  not  entitle  a 
person  to  the  benefits  of  the  Unemployment  Compensa- 
tion Act.  It  would  appear  that  the  plaintiffs  chose  un- 
employment and  they  were  not  involuntarily  unem- 
ployed." iP 


International  Projectionist 


Julv,  1964 


Volume  39 


July,   1964 


Number  7 


I.A.T.S.E.  Convenes  in  Louisville  . 


Role  of  Labor  Stressed 


The  staff  of  International 
Projectionist  extends  greetings 
to  I.A.T.S.E.  and  its  convention 
delegates  at  Louisville.  May  the 
next  half  century  be  as  spec- 
tacular as  the  last. 


The  forty-seventh  annual  convention  of  the  In- 
ternational Alliance  was  called  to  order  July  20  at 
Convention  Center  in  Louisville,  Ky.,  with  an  esti- 
mated 1.100  delegates  in  attendance. 

The  assembly  was  preceded  by  a  week  of  planning 
sessions  and  regular  businessi  transactions  by  the 
General  Executive  Board,  held  at  the  Louisville  Shera- 
ton Hotel,  the  convention  headquarters. 

The  14  district  organizations  of  I.A.T.S.E.  also 
held  sessions  during  the  week-end  preceding  the  con- 
ventions opening  day. 

Third  Visit 

This  year  marks  the  third  occasion  on  which  the 
Kentucky  city  has  been  chosen  as  the  scene  of  the  I.A.T.- 
S.E. biennial  gathering.  The  first  was  30  years  ago — 
June  4-8,  1934 — at  a  time  when  America  was  struggling 
to  climb  out  of  the  depths  of  depression.  Wage  cuts  and 
unemployment  were  the  chief  problems  before  that  con- 
vention, and  much  hope  was  being  pinned  on  the  new 
wage  and  price  codes  which  had  been  worked  out,  in- 
dustry by  industry,  under  the  auspices  of  the  National 
Recovery  Administration. 

The  second  Louisville  convention — June  3-6,  1940 — 
grappled  with  the  effects  of  significant  changes  on  the 
national  and  world  scene.  Much  to  the  regret  of  officers 
and  members  of  the  Alliance,  the  N.R.A.  codes  had 
been  declared  unconsitutional  by  the  Supreme  Court,  thus 
upsetting  years  of  constructive  effort  to  achieve  economic 
stability.  Employment  however,  was  showing  improve- 
ment,  largely   because   of   war   production. 

Many  Changes 

The  return  to  Louisville  this  summer  focuses  atten- 
tion on  the  further  tremendous  changes  which  a  quarter 
of  a  century  have  brought.  The  threat  of  world  domina- 
tion by  Fascism  has  been  put  down,  at  tragic  cost.  The 
threat    of    Communist    subversion    in    the    United    States 


and  Canada  also  has  been  largely  overcome,  but  this 
type  of  dictatorship  has  engulfed  more  than  half  the 
world,  reaching  almost  to  our  boundaries,  and  com- 
pels us  to  live  in  perpetual  hazard  of  total  devastation 
by  atomic  war.  Fortunately,  a  combination  of  un- 
equalled military  preparedness  and  wide,  sober  sales- 
manship have  held  off  the  threatened  catastrophe  so  far. 
However,  America  faces  a  new  challenge  in  the  form 
of  apostles  of  military  recklessness  who  have  risen  to 
alarming  political  prominence. 

Rise  of  TV 

Within  the  entertainment  industry,  the  years  since 
I.A.T.S.E.  last  met  at  Louisville  have  brought  the  rise 
of  television  as  a  major  entertainment  medium.  Although 
TV  has  given  employment  to  thousands  of  LA.  mem- 
bers, it  also  created  grave  problems,  diminishing  the 
number  of  motion  picture  theatres  and  for  a  time  shak- 
ing the  movie  industry  to  its  very  foundations.  Recent 
years  have  seen  this  crisis  pass.  New  theatres  now  are 
being  built,  and  much  of  the  lost  audience  has  been  re- 
covered. By  pushing  organizing  in  many  directions. 
LA.  membership  has  been  maintained  near  an  all-time 
high  of  around  60,000.  Numerous  locals,  however,  are 
troubled  periodically  by  employment  problems,  and  the 
advancement  of  automation  looms  as  a  challenge  to  our 
industry  as  well  as  to  all  others. 

Employment 

Many  of  the  matters  to  be  considered  by  the  dele- 
gates at  Louisville  will  have  a  bearing  on  the  employ- 
ment situation.  Reports  will  be  received  regarding  steps 
taken  in  an  effort  to  ease  the  industry's  tax  burden, 
to  overcome  the  continuing  depressive  effect  of  the  anti- 
trust degrees,  to  curb  runaway  film  production  and  to 
prevent  loss  of  work  by  updating  some  of  our  union 
procedures    and    requirements. 


International  Projectionist 


July,  1964 


Reports  also  will  be  received  on 
new  progress  in  the  closed  circuit 
TV  field,  on  gains  made  in  nation- 
wide contract  negotiations,  on  the 
start  of  a  pension  plan  available  to 
all  locals,  on  a  coordinated  approach 
to  common  problems  of  entertain- 
ment unions  throughout  the  Western 
Hemisphere,  and  on  numerous  other 
matters  affecting  the  welfare  of  the 
Alliance  and  its  members.  iP 

Ampex  Develops 
Moving  Movies 

\mpex  Corporation  has  announced 
the  development  of  what  it  calls 
Travelvision:  a  self-contained  svstem 
providing  motion  pictures  to  passen- 
gers in  airliners,  trains  and  other 
media  of  public  transport. 

Vlso  a  part  of  the  svstem  is  option- 
al high-fidelity  music  for  individual 
passenger-. 

In  the  \mpex  system,  first-run 
motion  pictures,  recorded  on  high 
< in  il i t \  video  tape,  can  be  played 
back  through  TV  receivers  located  at 
various  parts  of  the  vehicle.  Aboard 
ship,  or  in  train  compartments, 
receivers  can  be  installed  t<>  provide 
priv  ate   \  icu  ing. 

In  announcing  the  development. 
C.  Gus  Grant,  vice  president  of 
operations  at  Ampex  added  that  on- 
board iLimeras  could  be  used  to 
transmit  scenic  views  while  enroute. 

iP 


Replacement  for 
Memphis1  Strand 
Is  Scheduled 

The  first  four-walled  theatre  to  go 
up  in  the  Memphis  area  in  eight 
years  is  due  to  go  up  soon  in  the 
Eastgate  Shopping  Center.  It  is  being 
built  for  Paramount  Gulf  Theatres. 
a  New  Orleans  chain  which  is  losing 
its  lease  to  the  downtown  Memphis 
location  of  their  Strand  Theatre. 

The  new  house  will  seat  around 
1.(11)0.  and  will  be  equipped  to  handle 
all  current  popular  projection  techni- 
ques, plus  a  few  not  yet  on  the  mar- 
ket, according  to  Paramount  Gulf 
President  Kermit  Carr.  Single  lens 
Cinerama.  35  70mm  conversions. 
1)150  are  a  few  of  the  processes  that 
will  be  displayed  in  the  new  first-run 
polic)  house.  Stereophonic  sound 
will  also  be  installed.  Carr  said. 

Strand  Theatre  manager  Lloyd 
Bailej  i-  scheduled  to  take  over  the 
as  yel  un-named  theatre  when  the 
compam's  lease  expires  at  his  presenl 
location   Oct.    1. 

The  new  house  will  occupy  a  build- 
ing 80x165  feet,  of  which  over  2,500 
square  feet  will  be  devoted  to  a  car- 
peted lounge;  concession  stand  and 
rest  rooms.  New  York  architect 
Henry  George  Greene  is  in  charge  of 
the  project,  on  which  construction  i- 
LiettiiiL;   underwav .  iP 


IATSE  Continues  Work  for 
Consent  Decree  Modernization 


lie  I  \  I  SI,  is  continuing  its  efforts 
to  win  a  reopening  and  moderniza- 
tion of  the  industry  consent  decrees 
in  the  Paramount  anti-trust  case,  de- 
spite a  rebuff  bv  the  anti-trust  divi- 
sion of  the  Department  of  Justice. 

A  report  on  the  steps  taken  "to 
overcome  the  continuing  depressive 
effect  of  the  anti-trust  decrees"  is 
scheduled  to  be  made  to  the  IA's 
17th  convention  to  be  held  in  Louis- 
ville. Ky.,  beginning  July  20. 

I  \  made  representations  to  the 
Justice  Department  last  year  in  an 
eforf  to  obtain  the  government's  sup- 
port for  modification  of  some  of  the 
Paramount  decree  restrictions  which 
she  union  regards  as  hampering  in- 
dustry progress  and  expansion  and 
thus  curtailing  employment  oppor- 
tunities. 

It  has  been  especially  anxious  to 
cbtain  relaxation  of  decree  restric- 
tions on  the  expansion  of  divorced 
theatre  companies,  contending  that 
the  circuits,  discouraged  from  adding 
theatres,  are  investing  in  diversified 
interests  outside  the  industrv.  to  the 

International  Projectionist 


detriment  of  those  cmploved  in  it. 
as  well  as  those  who  might  be  attract- 
ed to  il  bv  increased  employment  op- 
portunities. 

I  he  Justice  Department  displavcd 
no  interest  at  the  time  in  sponsoring 
or  agreeing  to  the  suggested  decree 
changes.  Without  its  cooperation, 
decree  changes  are  unlikelv  to  be 
approved  by  the  Federal  court. 

Other  subjects  scheduled  to  come 
before  the  I  V  convention  include  the 
international  union's  cooperation  in 
endeavoring  to  obtain  repeal  of  the 
remaining  10',  Federal  tax  on 
theatre  admissions  over  $1,  and  the 
Hollywood  unions"  efforts  to  curb 
runaway  film  production. 

The  I A  has  requested  the  House 
Ways  and  Means  Committee,  which 
is  scheduled  to  start  hearings  July  20 
in  Washington  on  a  new  excise  tax 
bill,  for  permission  to  be  heard  on 
repeal  for  the  admission  tax.  Lester 
Isaac.  IA  international  representative. 
will  present  the  union's  case  against 
the  tax  when  the  hearing  is  granted. 

iP 

July,  1964 


Get  all  the  facts!  Ask  your  equip- 
ment dealer  for  the  new  1964 
Kollmorgen  Projection  Lens  Cata- 
log or  write  us  direct. 

k     KOLLMORGEN 

CORPORATION 

NORTHAMPTON,   MASSACHUSETTS 


Autoscope  System 
Tried  in  Southwest 


By  David  Hamrah 
I.A.T.S.E.  Local  423 


The  Autoscope  system  was  con- 
ceived and  built  by  Tom  Smith,  LA. 
member  from  Local  280,  Denison, 
Texas,  and  his  brother  Bob.  They 
have  been  working  on  this  system  for 
the  past  ten  years. 

The  booth  is  built  in  a  three-story 
building.  On  the  ground  floor  is 
located  the  generator  and  amplifier. 
On  the  second  floor  is  the  projection 
system  and  on  the  third  floor,  or 
penthouse,  is  located  the  optical  sys- 
tem. The  entire  feature  film  is  put  on 
a  40"  reel.   This  reel  has  an  8"  hub. 

The  feed  reel  and  take-up  reel  each 
have  an  idler  roller  (fig.  A.),  that 
works  on  a  floating  principle  and 
keeps  the  film  at  a  proper  tension  at 
all  times.  The  film  then  goes  under 
and  over  a  series  of  large  (l1/^" 
diameter)  wooden  rollers  to  a  metal 
chute  (fig.  B. ) .  This  chute  is  located 
just  over  the  lamps  to  protect  the  film 
from  the  heat.  The  projector  head 
( fig.  C. ) ,  used  in  this  set  up,  is  a 
Simplex  Excel  with  two  modifica- 
tions. 

Directly  back  of  the  aperture  is 
mounted  a  frosted  glass  to  spread  the 
light.  In  front  of  the  aperture  is  a 
holder  to  take  a  hand-ground  1"  by 
P/2"  lens  to  unsqueeze  the  Cinema- 
scope frame.  This  lens  is  used  for 
Cinemascope  as  there  are  no  other 
lenses  in  the  projector. 

This  system  uses  Simplex  sound 
head  and  amplifier.  The  Strong  (90) 
lamps,  using  75  amps,  are  mounted  at 
right  angles  to  the  projector  head. 
The  light  is  reflected  to  the  aperture 
by  a  highly  polished  mirror.  This 
mirror  is  mounted  on  a  swivel  and  is 
used  to  change  over  from  one  lamp 
to  the  other.  Directly  above  the  40" 
feed  reel  is  mounted  a  pair  of  re- 
winds. These  rewinds  are  used  in 
making  up  the  program,  i.e.,  transfer- 
ring the  film  from  the  shipping  reels 
directly  to  the  40"  reel. 

A  mirror  (fig.  D.),  is  mounted  on 
an  angle  in  front  of  the  projector 
head  where  the  conventional  lenses 
are  normally  used.  This  mirror  re- 
flects the  picture  to  a  large  cluster  of 


lenses.  The  optical  system  is  mounted 
in  the  penthouse  directly  above  the 
projector. 

There  are  260  long  focal-length 
lenses,  one  for  each  mirror  and 
screen.  These  lenses  are  mounted  in 
a  lens  tube  four  inches  long  and  have 
a  %"  diameter.  The  lenses  for  the 
inner  circle  of  screens  have  a  26" 
focal  length,  the  outer  circle  a  32" 
focal  length.  The  lenses  are  aimed  at 
a  series  of  mirrors  1%"  by  3%"  in 
size  and  are  mounted  on  steel  plates. 
These  mirrors  are  angled  off  through 
four  portholes,  each  porthole  cover- 
ing 65  screens. 

The  screens  are  set  in  two  circles. 
The  inner  circle  is  200'  from  the 
booth,  the  outer  circle  is  50'  beyond 
and  has  a  five'  higher  ramp  eleva- 
tion. The  screens  are  3'  by  5'  and 
made  of  a  plastic  material.  The 
screens  are  set  4'  from  each  other, 
and  mounted  in  a  wooden  frame  for 
easy  replacement.  The  speakers  are 
mounted  on  posts  and  are  in  easy 
reach  as  in  the  conventional  Drive-in. 

Local  423  in  August  signed  its  first 
contract  with  the  Circle  Drive-In 
Theatre.  Under  terms  of  the  one-year 
agreement,  some  concessions  were 
made  because  the  project  is  experi- 
mental. The  projectionist  spends  an 
average  of  15  minutes  per  day  check- 
ing the  mirrors  for  alignment.       iP 


Weis  Co.  Plans 
Drive-in  Car 
Comfort  Units 

A  new  drive-in  theatre  that  will 
eventually  accommodate  up  to  1,200 
vehicles  is  planned  in  Macon,  Ga.  by 
Weis  Theatres  of  Savannah  and 
Macon. 

A  revolutionary  new  item  will  be 
added  to  facilities:  a  temperature 
control  unit  for  each  car  that  will 
blow  hot  in  winter,  cold  in  summer. 

Another  modern  trend  in  outdoor 
presentation  will  be  observed  in  that 
the  new  theatre,  named  for  the  com- 
pany that  operates  it,  will  be  run  on 
a  strict  first-run  policy. 

Other  features  include  a  65-ft.  Cin- 
emaScope  screen,  and  a  modern  con- 
cessions pavillion  designed  by  archi- 
tect William  Finch.  iP 


Corpus  Christi  Theatres 
Plan  Two  New  Houses 

The  construction  of  two  movie 
theatres  was  recently  announced  by 
Bruce  Collins  Sr.,  executive  vice 
president  of  Corpus  Christi  Theatres, 
part  of  Rowley  United  Theatres. 
Collins  said  one  will  be  built  in  the 
Woodlawn  Shopping  Center  by  the 
Peterson  Development  Co.  and  the 
second  one  in  the  south  side  of  the 
city.  Each  will  seat  about  600  per- 
sons compared  to  about  1,200  at  the 
downtown  theatres.  iP 


Projectionists 

who  like  quality 

always  use  the  best 


Film    Cement 

Sold  by  Supply  Dealers 

Send  for  FREE  Sample 

ACE  CHEMICAL  CO. 

■  (Division  of  the 
Ace    Electric   Mfg.    Co.) 

1923    Bay    Road 
Miami  Beach,  Florida 


OUT  OF  PRINT 

MITCHELL  MANUAL 

AVAILABLE! 

The  renowned  "Manual  for 
Practical  Projection"  by  Robert  A. 
Mitchell  is  now  out  of  print,  ac- 
cording to  an  announcement  by  the 
bookseller.  International  Projec- 
tionist. 

Returns  from  our  retail  outlets 
have  been  consolidated  and  we 
now  have  approximately  40  vol- 
umes of  the  Mitchell  Manual  avail- 
able on  a  first-come-first  served 
basis. 

These  books  are  in  brand  new 
condition,  complete  with  dust 
jackets;  have  never  been  used. 
This  rare  publication  can  be  yours 
for  $10  cash  or  money  order. 
Sorry,  no  C.O.D.  or  foreign  orders 
can  be  accepted  at  this  price. 

Sheehan    Booksellers 

Box   410,    Route   5 

Wayzata,   Minnesota   55391 


International  Projectionist 


July,  1964 


Ace  Chemicals 
Merkur  Started 
As  Projectionist 

In  ing  Merkur.  a  veteran  of  motion 
picture     projection     for     nearly     50 
vears.  and  who  started  with  Marcus 
Loew  as  an  office  boy   and  general 
helper,    has    be- 
come   the    "pro- 
jectionists1     pro- 
jectionist" by  de- 
veloping        and 
manufactu  ring 
tools     for     belter 
picture    presenta- 
tion.   Merkur  got 
his     first    exper- 
ience as  assistant 
to     Martin     Ber- 
knwitz       at       the 


«^T>  <E> 


« 


I.    Merkur 


Eden  Museum  in  New  York  and  was 
one  of  the  first  projectionists  to  oper- 
ate the  Simplex  projector  in  1910. 
He  was  also  chief  projectionist  for 
Reeves  Sound.  His  extensive  experi- 
ence as  chief  supervisor  of  electrical 
engineering  with  the  Grand  Union 
organization  gave  him  a  background 
to  apply  to  his  design  and  manu- 
facturing of  the  famous  "Ace"  pro- 
ducts,  such  as  the  film  cue-marker. 
hot  splices,  and  Jefrona  cement.  His 
firm  is  Ace  Chemical  Co..  a  division 
of  Ace  Electric  Company.  It  oper- 
ates plants  in  Placid  Park.  N.  J.,  and 
in  Syracuse.  N.  Y.  The  Miami  Beach 
factory,  where  \ce  "Blue  Star"  film 
cement  is  made,  occupies  2,000 
square  feet,  and  Merkur  personally 
supervises  this  operation  with  a  staff 
of  over  a  dozen  workers.  iP 


Non-slip  Mat  Available 

American  Mat  Corp.  of  Toledo. 
Ohio,  recently  announced  the  de- 
velopment of  their  *"Walk-Kz\"  floor 
matting,  available  in  a  wide  variety 
of  runs  and  colors. 

The  new  mat  material  is  smooth, 
yet  non-skid  on  top.  and  is  cushioned 
underneath  by  a  built-in  foam  layer. 
According  to  the  manufacturers,  it  is 
resistant  to  wear  over  a  long,  hard 
use.  and  they  add  proudly  that  it  can- 
not be  penetrated  by  the  ladies'  high 


heel; 


iP 


Twin  Indoor 
Houses  Slated 
For  Toledo 

Cinema  I  and  Cinema  11.  the  first 
new  indoor  theatres  to  go  up  in  the 
Toledo  area  since  before  WW  II.  are 
now  under  construction  in  the  citvs 
Westgate  Shopping  Center  develop- 
ment. 

The  two  houses  will  share  both 
roof  and  lobby,  but  the  similarity 
will  end  there.  The  larger  will  seat 
1.100  and  will  lie  equipped  to  show 
everything  from  35mm  to  Cinerama. 
The  smaller,  more  intimate  house,  will 
have  seating  for  750  and  will  not 
Im\  e  ( iinerama  capability. 

Redstone  Management.  Inc..  of 
Boston  operates  the  twin  movie 
house-,  adding  these  facilities  to  three 
outdoor  theatres  it  acquired  in  1963 
from  Theatre  Operating  Corp. 

I  he  theatres'  site  is  a  six-acre  tract 
that  will  provide  ample  parking  for 
patrons.  The  Toledo  package  i<  simi- 
lar to  one  Redstone  is  putting  up  in 
Springfield,   \Ia-s.  iP 

Kollmorgen  Appoints 
Salig  to  Sales  Post 

Louis  F.  Salig  has  been  appointed 
manager  of  Projection  Lens  Sales  at 
Kollmorgen      Corp.,      Northampton, 

\fa->..  according  to  a  recent  an- 
nouncement I)  v 
coinpanv  offic- 
ials. He  will  be 
specializing  i  n 
the  sales  of  stan- 
dard and  special 
purpose  projec- 
tion lenses,  such 
as:  35  MM  Snap- 
lite  lenses  used 
for  cinerama  and 
other  motion  pic- 
ture projectors; 
special  lenses  for  studio  television 
projectors;  and  lenses  for  film 
editing  equipment. 

Salig.  a  resident  of  Fairview, 
Mass.,  has  been  with  the  firm  for  16 
years,  and  has  served  in  the  general 
sales  of  all  Kollmorgen  industrial 
products.  iP 


L.  F.  Salig 


Bausch  &  Lomb 
Promotes  Three 

Herbert  J.  Mossien,  vice  president 
and  marketing  manager  of  the  Scien- 
tific Instrument  Division  at  Bausch 
&  Lomb,  Inc.,  recently  announced 
three  new  ap- 
pointments. 

Elbert  F.  Day 
is  now  head  of 
the  Commercial 
Contracts  Depart- 
ment. Section 
heads  of  newly 
created  posts  are 
David  Allen, 
Military  Con- 
tracts Section 
E.  F.  Day  a  n  d     Robert 

Thomas.  Photogrammetric  Section. 

Day  joined  B&L  in  1948  as  a  sales 
correspondent.  In  1951  he  became 
assistant  manager  of  Photographic 
Sales,  section  head  of  Defense  Con- 
tract in  1956,  and  three  years  later 
was  named  manager  of  the  Photo- 
graphic &  Industrial  Optics  Dept.  A 
native  of  Rockville.  Conn..  Day  and 
his  familv  reside  in  Pittsford.  New 
York.  IP 

Dual  Rectifier 
Is  Announced 

Two  independent  power  sources, 
housed  in  one  unit  and  interfaced  to 
provide  instant  take-over  in  case  of 
power  failure,  make  up  the  new  2-in-l 
rectifier  manufactured  by  Kneisley 
Electric  Co.  of  Toledo.  Ohio. 

Either  rectifier  will  operate  either 
lamp,  and  each  is  capable  of  sustain- 
ing both  during  changeover,  accord- 
ing to  company  literature. 

Long  stack  life  is  assured  by  the 
use  of  two  480  amp.  silicon.  Recti- 
fiers have  built-in  minimizers  to  pre- 
vent sooting  and  pitting  of  reflectors 
and  damage  to  carbon  craters.  Should 
an  emergency  arise,  the  minimizer  is 
automatically  by-passed.  Three  pole 
relays  are  also   incorporated. 

Individual  lamp  adjustment  is 
provided  by  twin  eight-position 
switches  located  on  the  face  of  the 
rectifier's  panels,  while  190/210/230- 
/250  AC  taps  are  located  behind  a 
hinged  door  just  below  the  fine  cur- 
rent adjustment  switches.  iP 


CARBON  ARCS   .   .   .   for  finest  Projection 

Jlowurine  Ale  GgaMo+U  / 


Compact  Xenon  Arcs 


division 
•  Brighter  Light  on  Screen 

*  Longer  Burning  per  Carbon 
•  More   Economical 


vTJFlOM 


products 


CARBONS,   INC. 


rmoss  LAMPH0USES  • 


by  Cinemeccanica 


B  O  O  N  T  O  N.   N.  J. 


leTKOsr  POWER  SUPPLIES 

by  Christie 


International  Projectionist 


July,  1964 


New  Ballantyne  Amplification  System 


Billings,  Mont. 

Dear  J.  G.: 

We  were  interested  in 
your  explanation  of  the  rea- 
sons for  light  mismatch  in 
the  last  issue.  But  what 
about  the  difference  in 
sound  reproduction? 

T.  Cravella 


in 


T.  C— 


The  sound  reproduction  can  also 
call  attention  to  the  change  from  one 
projector  to  the  other.  This  will  occur 
if  the  sound  from  one  projector  is 
distorted  or  weaker  than  the  sound 
from  the  other.  Careful  listening 
tests  should  be  made  of  the  sound-on- 
film  reproduction  (both  optical  and 
magnetic)  obtained  with  each  pro- 
jector. Run  tracks  of  good  quality 
( preferably  test  films  of  piano  music 
to  test  sound  quality,  continuous 
tones  for  output  level ) ,  and  do  not 
depend  on  the  projection-room  moni- 
tor. Use  earphones  or  send  an  ex- 
perienced listener  to  check  on  the 
sound  from  the  auditorium. 

Most  modern  sound  systems  em- 
ploy small  potentiometers  for  the 
photocell  load  resistance  in  the  optical 
soundheads  or  their  preamplifiers. 
The  outputs  of  the  two  soundheads 
are  matched  by  painstaking  adjust- 
ment of  these  potentiometers  while 
identical  test  loops  are  run  simultane- 
ously. 

Certain  old-style  systems  depend 
upon  exciting-lamp  rheostats  to  ad- 
just exciter  voltage,  and  hence  the 
brightness  of  the  scanning  beams. 
The  correct  procedure  is  to  adjust 
both  exciting  lamps  horizontally  and 
vertically  for  maximum  output,  and 
then  match  the  two  outputs  by  re- 
ducing the  greater  one. 

just  as  the  average  observer  can 
detect  brightness  differences  as  small 


8 


Shown  above  is  the  complete  Ballantyne  transistorized  amplification  system. 
Each  cabinet  measures  only  26^4  in.  high,  10  in.  wide  and  7x/2  in.  deep. 

Ballantyne  Marketing 

Transistorized  Amplifiers  for  Higher  Quality 


as  4  per  cent,  the  average  listener 
can,  under  favorable  conditions,  de- 
tect loudness  differences  as  small 
as  %  decibel.  The  outputs  of  the  two 
projectors  should,  therefore.  be 
matched  to  within  V2  db.  Sound 
matching  as  close  as  this  is  greatly 
facilitated  by  the  use  of  an  output 
meter,   of  course. 

Many  projectionists  depend  upon 
their  sound-service  engineers  to 
equalize  the  sound  outputs.  Profes- 
sional sound  engineers  have  the  ex- 
perience, knowledge,  and  equipment 
to  do  the  best  job.  But  if  one  projec- 
tor falls  off  in  output  at  a  time  when 
the  engineer  is  not  available,  the  out- 
put of  the  "louder"  projector  can  be 
temporarily  reduced  to  match  the 
other  by  wrapping  several  turns  of 
clear  film  around  the  photocell,  hold- 
ing it  in  place  with  rubber  bands. 
Under  no  circumstances  should  an 
exciter  be  deliberately  thrown  out  of 
focus  to  attenuate  output:  distortion 
of  the  sound  may  result. 


Address  your  cards  and  let- 
ters to  Sound  Track,  1 645 
Hennepin  Ave.,  Minnea- 
polis, Minn.,  55403. 

International  Projectionist 


A  new,  all-transistorized  amplifi- 
cation system  featuring  greatly  im- 
proved sound  quality  and  flexibility 
in  use  has  been  announced  by  Ballan- 
tyne Instruments  &  Electronics,  Inc., 
Omaha,  Neb.  Ballantyne  is  a  division 
of  ABC  Vending  Corp.  Company  of- 
ficials said  that  while  the  transistor- 
izing gives  many  features,  the  im- 
provement in  sound  quality  is  most 
outstanding.  They  described  the 
sound  as  true  hi-fidelity  with  great 
clarity  and  presence. 

The  new  amplification  system  is 
manufactured  in  three  units.  Each 
unit  measures  only  I1/*"  deep  x  10" 
wide  x  26V4"  high.  The  system  elim- 
inates all  photo  cells,  vacuum  tubes 
and  relays.  As  a  result  of  the  use  of 
transistor  components,  there  is  no 
problem  of  heat  dissipation.  A  sec- 
ond feature  is  enormously  improved 
reliability,  because  the  transistors 
used  in  the  Ballantyne  amplifier  are 
designed  to  operate  well  within  power 
requirements,  with  a  very  safety  fac- 
tor. The  new  amplifier  has  undergone 
a  thorough  program  of  installation 
testing  which  began  early  last  sum- 
mer in  theatres  that  include  the  shop- 
ping centers  at  Poughkeepsie,  N.  Y., 
Johnstown.  Pa.  and  Youngstown. 
Ohio.  iP 


July,  1964 


Investment  Opportunity 


A  dozen  years  from  now  these  boys  will  be  riding 
trail  for  real — herding  cattle  to  help  feed  your  chil- 
dren. 

Till  then,  how  much  patience  and  love  and  plan- 
ning must  go  into  their  training?  How  much  effort 
into  keeping  our  society  free  and  our  economy 
stable,  so  young  people  can  develop  into  respon- 
sible, productive  adults? 

You  have  an  investment  in  these  boys.  To  pro- 
tect it,  you  can  join  with  other  leading  American 
businessmen  to  promote  the  Treasury's  Payroll 
Savings  Plan  for  U.  S.  Savings  Bonds.  The  Treas- 
ury Department's  Plan  helps  to  encourage  the  habits 
of  self-reliance  and  thrift  we  so  need  in  all  our 


citizens  ...  it  helps  us  maintain  that  love  of  indi- 
vidual liberty  which  is  basic  to  the  well-being  of 
our  nation. 

When  you  bring  the  Payroll  Savings  Plan  into 
your  plant — when  you  encourage  your  employees 
to  enroll — you  are  investing  in  the  young  people 
who  will  help  feed  the  world  a  decade  from  now. 
You  are  investing  in  all  the  ranchers  and  herders 
and  farmers  of  America's  tomorrow.  In  America's 
future.  In  freedom  itself. 

Don't  pass  this  opportunity  by.  Call  your  State 
Savings  Bonds  Director.  Or  write  today  directly 
to  the  Treasury  Department.  United  States  Savings 
Bonds  Division,  Washington,  D.C.  20226. 


4S% 


"^SfS^ 


in  your  plant. ..promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS     M$ji) 


•  The  U.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism,  The  Advertising  Council  and  this  magazine. 

International  Projectionist  July,  1964 


THE 
INTERNATIONAL  ALLIANCE  OF  THEATRICAL  STAGE 

EMPLOYES  AND  MOVING  PICTURE  MACHINE 
OPERATORS  OF  THE  UNITED  STATES  AND  CANADA 


Names  and  Addresses  of  Local  Secretaries  and  Business  Agents 


(These  listings  are  all  operators 
officers.  Future  listings  will  include 
mixed  locals.) 


ALABAMA 

236  BIRMINGHAM  — W.  H.  Neal,  Jr., 
P.  0.  Box  847.  Tele.:  409  N.  90th  St. 
Bus.  Agt.:  J.  B.  Colley,  4110  N.  43rd 
Ave.,    Zone    7. 

236-A  BIRMINGHAM— Chester  Hawes, 
Jr.,  P.  0.  Box  962.  Tele.:  1140  12th  St. 
N.(  Zone  4.  Bus.  Agt.:  Otis  Howard,  813 
Center  Place,   S.  W. 

519  MOBILE— R.  E.  Morris,  P.  0.  Box 
638,  ZIP  36601.  Phone:  473-4742.  Bus. 
Agt.:  T.  J.   Mayher,   111  Elinor. 

ARIZONA 

294  PHOENIX— Charles  B.  Kendall,  1317 
W.  Holly  St.  Bus.  Agt.:  Edward  A. 
Dougherty,    3243    E.    Cypress   St.   Zone  8. 

CALIFORNIA 

150  LOS  ANGELES— C.  Y.  Crowe,  1800 
S.  Vermont  Ave.,  Zone  6.  Bus.  Agt.: 
Arthur  C.  McLaughlin,  1800  S.  Vermont 
Ave.,    Zone    6. 

162  SAN  FRANCISCO— Edward  H.  Ponn, 
Room  302,  230  Jones  St.,  Zone  2.  Tele.: 
58  Havelock  St.  Bus.  Agt.:  Henry  Meyer, 
2343    46th    Ave. 

165  HOLLYWOOD  —  (Motion  Picture 
Studio  Projectionists,  Moving  Picture 
Machine  Operators)— Richard  B.  Frisbie, 
1065  N.  Fairfax  Ave.,  Room  100.  Zip 
90046.  Tele.:  4951  Alcove  Ave.,  North 
Hollywood.  Bus.  Agt.:  Leo  S.  Moore, 
3851  Motor  Ave.,  Culver  City. 

10 


169  ALAMEDA  COUNTY— Frank  E.  Hes- 
ter, 5848  Foothill  Blvd.,  Oakland,  Zone 
5.  Tele.:  2599  Kelly  St.,  Hayward.  Bus. 
Agt.:  Ralph  P.  Thiers,  2769  Parker  Ave., 
Oakland,  Zone  5. 

252  SACRAMENTO— Thomas  J.  Farrell, 
P.  0.  Box  2149.  Tele.:  4001  Ramsey 
Drive,  North  Highlands.  Bus.  Agt.:  Leslie 
E.  McMillin,  10222  Sally  Court,  Rancho 
Cordova. 

297  SAN  DIEGO  COUNTY  —  J.  W. 
Abrams,  3921  Park  Blvd.,  Zone  3,  San 
Diego.  Tele.:  4565  Wightman  St.,  San 
Diego.  Bus.  Agt.:  George  L.  Abrams, 
3623  Third   Ave.,   San   Diego,   Zone  3. 

428  STOCKTON— Carl  W.  Howe,  Sr., 
P.  0.  Box  909.  Tele.:  3745  Webster 
Ave.,  Zone  4.  Bus.  Agt.:  A.  W.  South- 
wick,  3411  Delaware,  Zone  4. 

431  SAN  JOSE— Edward  M.  Collinson, 
P.  0.  Box  754.  Tele.:  1680  Los  Padres 
Blvd.,  Santa  Clara.  Bus.  Agt.:  Fred  E. 
Skinner,    261    S.    4th    St.,    Zone    12. 

521  LONG  BEACH— Alonzo  S.  Bennett, 
P.  0.  Box  1264.  Tele.:  1103  E.  First  St., 
Zone  2.  Bus.  Agt.:  Stanley  B.  Wedell, 
6740  Monlaco  Road,   Long  Beach,  Zone  8. 

577  SAN  BERNARDINO,  RIVERSIDE, 
POMONA  and  REDLANDS— E.  J.  Stejskal, 
P.  0.  Box  273,  Pomona  91769.  Tele.: 
2204  Titus,  Pomona.  Bus.  Agt.:  M.  D. 
Krausman,  1549  W.  Orange  Grove  Ave., 
Pomona. 

599  FRESNO— Marlin  C.  Young,  P.  0. 
Box    511.    Tele.:    530    N.    Hughes    Ave., 


Zone    5.    Bus.    Agt.:     Edward    C.     Irvin, 
3546    E.    Picos   Ave.,   Zone  26. 

CANADA 

173  TORONTO, Ont.  —  Graydon  Hulse, 
Labour  Temple,  167  Church  St.,  Zone  2. 
Tele:  20  Rossander  Court,  Scarboro, 
Ont.  Bus.  Agt.:  A.  L.  Pat  Travers,  304 
Broadway  Ave. 

257  OTTOWA,  Ont.— W.  Murray  Hall, 
P.  0.  Box  122.  Bus.  Agt.:  John  Ma- 
cauley,    547    Laurier   Ave.,    West   Ottawa. 

262  MONTREAL,  Ouebec— Pierre  Hand- 
field,  60  Jardins  Ste  Dorothee,  Ste 
Dorothee.  Bus.  Agt.:  Marcel  Desrocher, 
482    Wood    Ave,    Westmount. 

299  WINNIPEG,  Man.— E.  L.  Turner, 
P.  0.  Box  143.  Tele.:  1084  Ashburn  St., 
Zone  10.  Bus.  Agt.:  Lawrence  Hackie, 
458     Melbourne    Ave.,     E.     Kildonan.  . 

302  CALGARY,  Alta.  —  Stan  R.  Sadler, 
205  Labor  Temple.  Tele.:  82  Gladview 
Crescent.  Bus.  Agt.:  Burt  Roebuck,  121 
24th   Ave.,    N.    E. 

303  HAMILTON,  Ont.— H.  W.  Usher,  69 
Weir  St.,  South.  Bus.  Agt.:  H.  W.  Usher. 

348  VANCOUVER-VICTORIA,  B.  C.  — 
Frank  M.  Smith,  1356  Seymour  St.,  Van- 
couver. Tele.:  4395  Williams  St.,  Barn- 
aby.  Bus.  Agt.:  D.  A.  Cooper,  907  Fifth 
St.,  New  Westminster.  Victoria  Repre- 
sentative: W.  More,  1276  Vista  Heights, 
Victoria. 

371  EDMONTON,  Alta.— M.  L.  Adamson, 
9921  113th  St.  Bus.  Agt:  A.  H.  Godgkin- 
son,   8763  Strathern   Drive. 

CANAL  ZONE 
686    BALBOA— E.    F.    Forbes,    6718    15th 
St.,     N.,     St.     Petersburg,      Fla.     33702. 
Bus.    Agt.:    F.    M.    Oltenburg,    P.    0.    Box 
162. 

COLORADO 

230  DENVER— R.  E.  Waller,  P.  0.  Box 
302,  Zone  1.  Tele.:  777  High  St.,  S.  Bus. 
Agt:  Charles  P.  Weber,  991  S.  Holly 
St.,   Zone   22. 

448     PUEBLO— Syd     Jefferson,     P.     0. 


Box  1185.  Tele.:  1619  Iroquois  Road. 
Bus.  Agt.:  Lloyd  M.  Cloer,  914  Van 
Buren    Ave. 

CONNECTICUT 

273  NEW  HAVEN— George  Smith,  P. 
0.  Box  639,  Zone  3.  Tele.:  91  Parker 
Place,  Zone  12.  Bus.  Agt.:  Ernest  V. 
DeGross,    147    Beacon    Ave.,    Zone    13. 

277  BRIDGEPORT  —  Merrick  Parrel!!, 
104  Glendale  Ave.,  Zone  6.  Bus.  Agt.: 
John    Martin.   234   Dexter   Drive,   Zone  6. 

486  HARTFORD— D.  I.  MacDonnell,  P. 
0.  Box  486,  Zone  1.  Tele.:  159  Man- 
chester St.,  Zone  12.  Bus.  Agt:  Peter 
J.  DeCarli,  521  S.  Quaker  Lane,  Zone 
10. 

DELAWARE 

473  WILMINGTON— Walter  D.  Sullivan, 
8  Lyons  Ave.,  Overview  Gardens,  New 
Castle.  Bus.  Agt:  John  Maisel,  104  W. 
28th    St. 

DISTRICT    OF    COLUMBIA 

224  WASHINGTON  — Malcolm  E.  Spar- 
rough,  Plaza  Theatre  Bldg.,  1336  New 
York  Ave.,  N.  W.  Tele.:  5702  84th  Ave., 
Carrollton,  Hyattsville,  Md.  20784.  Bus. 
Agt:  Fred  C.  Kelly,  7100  Cedar  Ave., 
Takoma    Park,    Md. 

FLORIDA 

316  MIAMI— Frank  A.  Lewis,  P.  0. 
Box  284,  Zip  33101.  Tele.:  3751  N.  W. 
1st  St.  33126.  Bus.  Agt:  Paul  G. 
Robertson,   857   N.    E.    145th   St.   33161. 

316-A  MIAMI— Calvin  C.  Marks,  51- 
125  Edison  Center  Station.  Tele.:  2490 
N.  W.  60th  St  Bus.  Agt.:  Harold  J. 
Jones,    1645   N.   W.   65th   St. 

511  JACKSONVILLE— A.  J.  Rehkopf, 
P.  0.  Box  4224.  Tele.  :  1639  Pearl  St., 
Zone  6.  Bus.  Agt.:  Douglas  D.  Tidwell, 
7017    Castilla    Ave.,    Orange    Park. 

GEORGIA 

225  ATLANTA  —  C.  B.  Baldwin,  P.  0. 
Box    365,    Zip    30301.     Tele.:    1226    Oak- 


International  Projectionist 


July;  1964 


land  Terr.  Bus.  Agt.:  W  G  Means, 
1130    HancocK    Drive.    N.    E. 

ILLINOIS 

110  CHICAGO  -  Ralph  R.  Mooney, 
Suite  2105.  188  West  Randolph  St.,  Zone 
1.  Tele.:  645  N.  Taylor,  OaK  Park  8us. 
Agt.:  Clarence  A.  Jalas,  Suite  2105.  188 
West  Randolph  St.,  Zone  1. 

288   EAST   ST.    LOUIS    -  BELLEVILLE 
Anire*  J.   Foehrkalb.   108  S.  Charles  St., 
Edwardsville.     Bus.    Agt.:     Lloyd    Smith. 
7330   Carr    Drive.    Belleville. 

323  SPRINGFIELD  —  Wilbur  F.  Wepner, 
13  Verna  Drive.  Bus.  Agt.:  William  L. 
Rasar.    1934  S    Lincoln. 

374  JOLIET  —  Harold  J.  Brown,  P.  0. 
Box  1050.  Tele.:  135  E.  Jefferson. 
Bus.  Agt.:   Leo  O'Connor,   1107  Loral  Ave. 

433  ROCK  ISLAND  -  MOLINE,  III.  - 
DAVENPORT.  Iowa  -  George  A.  Stod- 
dard, 914  23rd  St.,  Rock  Island  61201. 
Bus.  Agt.:  Edward  A.  Short.  3620  18th 
Ave  .  Rock  Island. 

INDIANA 

194  INDIANAPOLIS  -  Lawrence  A. 
Mulry,  Jr.,  1105  Prospect  St..  Room  311. 
Zone  3.  Tele.:  Box  38-1.  9880  W.  10th 
St..  Zone  31.  Bus.  Agt  John  E.  Mulry, 
2706  Shakespeare  Drive.  Zone  27. 

367  EVANSVILLE  -  Otis  Potter,  1107 
S.  Boeke  Road  47714.  Bus.  Agt.:  Otis 
Potter. 

373  TERRE  HAUTE  —  Roy  V.  Barrett, 
P.  0.  Box  373.  Bus.  Agt.:  Thomas  A. 
White.  3000  N.   11th   St 

466  FORT  WAYNE  -  H  E  Thompson, 
P.  0.  Box  381.  Tele.:  620  W.  Oakdale 
Drive  46807.  Bus.  Agt.:  Paul  M.  M.vrill. 
3042   Swift    Drive. 

IOWA 

286  DES  MOINES  George  A.  Hartnett. 
3933  41st  St.,  Zone  10  Bus.  Agt.: 
Verne  Warner.  3108  S.  W.  13th  St. 
Place.  Zone  15. 

355  SIOUX  CITY  -  Burt  P.  Martin, 
P  0.  Box  834,  Zone  5.  Tele.:  Alhambra 
Apts.,  Apt.  D4,  Zone  4.  Bus.  Agt.:  J.  R 
Ma'ksbury,  425  Center  St..  Zone  3. 

J33  HAVENPORT  -  (See  Rock  Island, 
Illinois) 

KANSAS 

404  TOPFKA  Paul  L  Anderson.  929 
Randolph  Ave.  Bus  Agt.:  C.  W.  Bur- 
gess.   211     Courtland    Ave. 

414    WTHITA  Robert    H.    Heagler, 

P.  0.  Box  741.  Tele.  208  S.  Glenn. 
Bus.  Agt.:  Lyman  L.  Covey,  2650  N. 
Poplar. 

KENTUCKY 

163  LOUISVILLE  -  John  Dahl,  P.  0. 
Box  422.  Zone  1.  Tele.:  4206  S.  3rd 
St  Bus  A?t  :  Jess  Hopewell,  5405 
Westhall    Roat 

163-A    LOUISVILLE  Anlrew   E.   Wade. 

Jr.  3311  Greenwood  Ave.  Bus.  Agt.: 
Andrew    E.    Wade.    Jr. 

LOUISIANA 

222  SHREVEPORT  -  Cecil  G.  Parker. 
Sr .  P  0.  Box  721.  Tele.:  107  Pennsyl- 
vania Ave.  Bus.  Agt.:  N.  S.  Laird,  837 
Linden  Ave..   Zone  27. 

293  NEW  ORLEANS  -  V.  C.  Mathis. 
P.  0.  Box  50293.  Zip  71150.  Tele.:  412 
N.  Causeway  Blvd..  Metairie  70121.  Bus. 
Agt.:  L.  N.  Chateau,  4959  Lafaye  St. 
70122. 

293-A  NEW  ORLEANS  -  H.  Bucksell, 
1938  Dules  St.  Bus.  Agt.:  David  A. 
Segue.    3419    Live    Oak    Place. 

MAINE 

458    PORTLAND    and    LEWISTON— Leslie 

S.  Way.  P.  0.  Box  1894,  Zone  2.    Tele.:  75 

Allen  Ave.  Bus.  Agt.:    George  E.  Francis, 

288  State  St.,  Portland. 

MARYLAND 

181  BALTIMORE  -  Irving  Whit»hill, 
404  W  Baltimore  St.,  Room  3.  Tele.: 
3304  Parkington  Ave..  Zone  15.  Bus. 
Agt.:  Maurice  Rushworth,  1159  Gran- 
ville Roa1.  Zone  7. 

181-A  BALTIMORE  —  Robert  E.  John- 
son. 566  Mosher  St.  Tele.:  2212  Whit- 
tier  Ave..  Zone  17.  Bus  Agt.:  George 
H.    Douglass.    901   N.    Fremont  Ave. 

MASSACHUSETTS 

182  BOSTON— Ralph  S.  Frazier,  45  Win- 
chester St.,  Zone  16.  Tele.:  8  Angus 
St.,  North  Quincy.  Bus.  Agt.:  Ralph 
Frazier. 

186  SPRINGFIELD  —  Ovila  C.  Lattin- 
ville.  P.  0.  Box  835.  Tele.:  35  Emerald 
Road,  Zone  9.  Bus.  Agt.:  Edward  J. 
O'Connor,  Jr.,   109  Melha  Ave.,  Zone  4. 

245  LYNN-SALEM  —  Frank  D.  Halleran, 


30  Chestnut  St..  Peabody.  Bus.  Agt.: 
L.   F.  Barber.  9  Shirley  Rd.,   Lynn. 

256  LAWRENCE  —  Clarence  Bell,  61 
Waverly  Rd.,  North  Andover.  Bus.  Agt.: 
William  Walsh,  11  Boston  St. 

334  NEW  BEDFORD  —  Alfred  A.  Landry. 
35  Bentley  St.  02746.  Bus.  Agt.:  Edward 
Patrick,    51    Newton    St.    02740. 

382  HOLYOKE  —  Henry  Desnoyers,  439 
Beech   St.     Bus.   Agt.:     Henry   Desnoyers. 

397  HAVERHILL  —  Edward  M.  Foley,  3 
Maple  Ave.  Bus.  Agt.:  Edward  M. 
Foley. 

424  FALL  RIVER  —  Thomas  R.  Nasser, 
Jr..  818  Robeson  St.  Bus.  Agt.:  Anthony 
J.  Salvo.  5  Merrit  Ave.,  Riverton,  R.  I. 

437  BROCKTON  —  Joseph  K.  Hooker,  25 
Belcher  St..  Holbrook.  Bus.  Agt.:  Vin- 
cent Buckley,  13  Merritt  St.,  West 
BrHge  water. 

452  PITTSFIELD  —  William  L.  Volin, 
332  South  St.  Bus.  Agt.:  Edward  J. 
Rogers.    338    Daiton    Ave. 

546  LOWELL  —  Sidney  E.  LeBow,  P.  0. 
Box  8Vt.  Tele.:  11  Belmont  St.  Bus. 
Agt.:    Sidney    E.    LeBow. 

MICHIGAN 

199  DETROIT  —  John  Lindenthal,  2988 
E.  Grand  Blvd.,  Zone  2.  Tele.:  23147 
Firwood,  East  Detroit.  Bus.  Agt.:  Roy 
R.   Ruben,   2988   E.  Grand   Blvd.,   Zone  2. 

472  FLINT  -  OWOSSO— Ray  Field,  P.  0. 
Box  243,  Flint.  Zone  1.  Tele.:  936 
Alvord  St,  Flint,  Zone  3.  Bus.  Agt.: 
Ray   Field. 

MINNESOTA 

219  MINNEAPOLIS  -  Rodolph  A.  Peter- 
son. 2806  W.  88th  St..  Zone  20.  Bus. 
Agt.:  Wallace  J.  Yutzy,  5508  Kellog  Ave., 
Zone    24. 

356  ST.  PAUL  -  Charles  B.  Ludwig, 
P.  0.  Box  63.  Zone  2.  Tele.:  1466 
Berkeley  Ave.  Bus.  Agt.:  Harold  L.  Miller. 
2863    Stillwater    Road. 

509  DULUTH  . .  Russel  Gran,  5714 
Wadena  St.  Zip  55807.  Bus.  Agt.: 
Harold  G.  Olson.  231  N.  4th  Ave  ,  W 
Zip    55806. 

MISSOURI 

143  ST.  LOUIS  -Wilburn  Routszong,  520 
N  Grand  BlvL,  Room  201.  Zone  3.  Tele.: 
9030  Rosemary.  Zone  23.  Bus.  Agt  ■ 
Herbert  Butz.  520  N.  Grand  Blvd.,  Room 
20 1.    Zone   3. 

170  KANSAS  CITY  -  Fred  H.  Shirley. 
Jr..  108  Railway  Exchange  Bide..  705 
Walnut  St.  64106.  Tele.:  7306  Elm 
Raytown.  Zone  33.  Bus.  Agt:  Shannon 
W.  Jones.  Railway  Exchange  Bide..  705 
Wa'nut    St..    64106. 

170-A  KANSAS  CITY  -  William  Walker 
907  Freeman  Ave..  Kansas  City,  Kan.  Bus 
Agt  •    John    H     Adams,    Jr. 

447  Springfield  -  James  L.  Wilson, 
P.  0  Box  1513.  S.  S.  Station.  Tele.: 
840  E.  Tracy  St.  Bus.  Agt.:  Elmer  H 
Nuttleman,  311V4  E.  Walnut  St.,  Apt. 
201     Zone  4. 

465  JOPLIN  _  R.  L.  Long,  P.  0.  Box 
465.  Tele..  910  W.  First  St..  Webb  City. 
Bus.   Agt.:     G.   W.   Wilson,   415   Ninth   St. 

559  ST.  JOSEPH  -  Gerald  P.  Barsh. 
3513  S.  11th  St  Bus.  Agt.:  Ed  A  Har- 
ris,   1911    S.    17th   St.,    Washington. 

NEBRASKA 
343  OMAHA  —  Richard  G.  Smith,  P.  0 
Box  465.   Dcwntown  Sta..   Zone   1.    Tele  • 
12366     Shirlev.     Bus.     Agt.:      Floyd     R 
Gibson.  2220  Fort  St. 

NEW   JERSEY 
244   ESSEX  COUNTY  -  Patrick  Fazzini 

31  Halsey  St..  Newark.  Tele.:  85  Albe- 
marle Road,  Colonia.  Bus.  Agt.:  Harry 
Schocket.  150  S.  Harrison  St.,  East 
Orange. 

310  ATLANTIC  CITY  -  Vincent  J.  Shee- 
ran.  P.  0.  Box  572.  Tele.:  600  Linden 
Ave.,  Pleasantville.  Bus.  Agt.:  Augustus 
Hilton.   11  N.  Osborne.   Margate. 

359  MERCER  COUNTY  —  R.  Douglas 
Hewitson.  P.  0.  Box  506.  Trenton.  Tele.- 
24  Lee  Ave.,  Trenton.  Bus.  Agt.:  Walter 
W.  Hoffman.  1612  Riverside  Drive,  Tren- 
ton.   Zone    8. 

384  HUDSON  COUNTY  —  Arthur  Mc- 
Mahon,  130  Central  Ave.,  Jersey  City 
Zone  6.  Tele.:  82  Liberty  PI.,  Wee- 
hawken.  Bus.  Agt.:  Ralph  DeMea,  9008 
S"rond    Ave..    North    Bergen. 

"18  CAMDrN  —  Samuel  J.  Berger,  626 
Federal  St.,  Zone  3.  Tele.:  24  Park  Drive. 
Bellmau'r.  Bus.  Aet:  Frank  Hauss.  157 
Paris  Ave.,  Audubon,  Zone  6. 

NEW    YORK 

233  BUFFALO— Carl  F.  Patterson,  498 
Pearl  St.,  Zone  2.  Tele.:  81  Delwood 
Road,  Kenmore.  Bus.  Agt.:  K.  J.  Kava- 
nash.   498   Pearl    St.,   Zone   2. 

253  ROCHESTER— Walter  A.  Knopf,   1109 


Monroe   Ave.,    Zone  20    Bus.   Agt.:    Frank 
Coniglio,    35    Bouckhaart    Ave.,    Zone   9. 

285  TROY— Earl  V.  Cooney.  Box  147, 
West  San1  Lake.  Bus.  Agt.-.  Geo.  L. 
Nueent,   12  Plum  Ave. 

306  NEW  YORK— Ernest  Lang,  362  W. 
50th  St.  Bus.  Agts.:  (New  York)  Steve 
D'lnzillo.  362  W.  50th  St.  (Brooklyn) 
Harry  Garfman.  250  Ashland  Place, 
Brooklyn,     Zone     17. 

314  SCHENECTADY— Joseph  Rogers,  P. 
0.  Box  70.  Tele.:  27  Windsor  Drive, 
Scotia.  Bus.  Agt.:  Patrick  Smith,  847 
Stanley    St.,    Zone    7. 

324  ALBANY— Norman  L.  Wirz,  46  Hill- 
crest  Ave.  12203.  Bus.  Agt.:  AnJrew 
Antoinette.    677    Central     Ave. 

337  UTICA— Rocco  Monaco,  609  Steele 
Place,    Zone    3. 

376  SYRACUSE-George  F.  Raaflaub. 
1145  Glen  Cove  Road,  N.  Bus.  Agt.: 
Walter  Scarfe.  306  Clarence  Ave., 
Zone    5. 

396  BINGHAMTON  C  E.  Nicholas,  1447 
Upper  Chenango  St.  Bus.  Agt.:  Earl 
Tuttle.    39    Linden    St. 

640  NASSAU  and  SUFFOLK  COUNTIES 
— W.  R.  Lord.  22  Pine  St..  Freeport,  L.  I. 
Bus.  Agt.:  Charles  Washburn,  22  Pine 
St.,    Freeport,    L.    I. 

650  WESTCHESTER  and  PUTNAM 
COUNTIES— Michael  J.  Nugent,  53  S. 
Broadway.  Room  502,  Yonkers,  Zone  2. 
Tele.:  186  Park  Ave.,  Yonkers.  Bus. 
Agt.:  Anthony  Dente.  53  S.  Broadway, 
Room  502.  Yonkers,  Zone  2. 

OHIO 

160  CLEVELAND  -  Robert  A.  Dolan. 
Suite  506.  Warner  Bldg.,  2300  Payne 
Ave.,  Zone  14.  Tele.:  16701  Larchwood 
Ave.  Bus.  Agt:  Perry  L.  Carter,  Suite 
506,  Warner  Bldg.,  2300  Payne  Ave., 
Zone    14. 

228  TOLEDO  T.  D.  Liggett,  P.  0.  Box 
1602.  Central  Sta.  43603.  Tele.:  662 
Forsythe  St.  43605.  Bus.  Agt.:  A.  F. 
Partis,    804    Klipping    Drive,    Zone    12. 

248  DAYTON  -Robert  C.  Kennedy,  P.  0. 
Box  222.  Zone  1.  Tele.:  1524  Laird  Ave. 
Bus.  Agt.:  Wilmer  Rousch.  2034  Mal- 
colm  Onve. 

327  CINCINNATI  -  Henry  Williams, 
Room  506,  Palace  Theatre  Bldg..  12  E. 
6th  St.  Tele.:  2636  Ida  Ave.,  Zone  9. 
Bus.  Agt.:  Earle  Wagner,  3815  Edwards 
Rd..    Norwood. 

327-A— CINCINNATI  Chester  C.  Pryor, 
3621  Eaton  Lane,  Zone  29.  Bus.  Agt: 
Edward   Taylor,   907    Mound   St.,   Apt.    11 

352  SPRINGFIELD  -Robert  W.  Mills. 
P.  0  Box  357.  Tele.:  2430  Mayfair  Drive. 
Bus.   Agt:    Lloyd   M.   Blue,  918  Grant  St 

364  AKRON  S.  W.  Galloway,  P.  0.  Box 
364.  Tele.:  177  Benson  Rd.  Bus.  Agt: 
J.    A.    Shuff.    133   Alden   Ave.,    Zone    13. 

386  COLUMBUS— William  M.  Sillins,  36 
W.  Gay  St..  Suite  211-212,  Zone  15.  Tele.: 
2811  Halstead  Rd.,  Zone  21.  Bus.  Agt.- 
Ned  R.  Welch.  598  Garden  Road,  Zone  2. 

388  YOUNGSTOWN-Cecil  H.  Cook,  P. 
0.  Box  1384.  Tele.:  726  Crestview  Dr. 
Bus.  Agt.:  George  A.  Amreihn,  217  E. 
Avondale    Ave. 

576  MANSFIELD  Harvey  Kibler  P  0 
Box  112.  Tele.:  680  S.  Main  St.  Bus. 
Agt:  A.  F.  Esbenshade.  908  Benedict  Ave. 

671  CANTON-Ray  A.  Bederman,  1540 
Spring  Ave.,  N.  E.,  Zone  4.  Bus.  Agt: 
Russell  T.  Goodwin.  915  5th  St.  N.  W. 

OKLAHOMA 

380  OKLAHOMA  CITY-R.  L.  Jack,  P. 
0.  Box  380,  Zone  1.  Tele.:  2228  W.  Park 
Place.  Bus.  Agt.:  Kenneth  Lyons,  5105 
S.    Lee   St. 

513  TULSA-Claude  H.  Keith,  P.  0.  Box 
513.  Tele.:  2912  W.  40th  St.  Bus.  Agt  • 
Carnie   A.   Burton,   2803   East   1st   Place. 

OREGON 

159  PORTLAND-C.  W.  Christenson, 
4806  S.  E.  52nd  Ave.,  Zone  6.  Bus. 
Agt.:  S.  E.  Phillips,  P.  0.  Box  275 
Lake  Oswego 

PENNSYLVANIA 

171  PITTSBURGH— Luther  W.  Thomp- 
son, 918  B.  F.  Jones  Building  Annex,  311 
Ross  St..  Zone  19.  Tele.:  3215  East- 
mont  Ave..  Zone  16.  Bus.  Agt.:  Martin 
Torreano,  918  B.  F.  Jones  Building  An- 
nex. 311  Ross  St.  Zone  19. 

307  PHILADELPHIA— George  Feldman, 
1317  Vine  St.,  Zone  7.  Tele.:  1605  West 
End  Drive.  Bus.  Agt.:  Abbott  Oliver, 
1317    Vine    St.,    Zone    7. 

307-A  PHILADELPHIA— Herman  K.  Wil- 
liams, 5925  N.  21st  St.,  Zone  38.  Bus. 
Agt:   Charles  Polk,   15  S.   Ruby  St. 

325  WILKES-BARRE  —  Kenneth  A. 
Thomas,  91  Downing  St.,  Plymouth.  Bus. 
Agt.:    Kain    Jacobs,    197   Old    River    Road. 

488  HARRISBURG— Paul  N.  Hippie,  P.  0. 
Box  1408.  Tele.:  317  Linden  St.,  Marys- 
ville.     Bus.     Agt:     E.     Richard    Bennett, 


International  Projectionist 


Julv,  1964 


317   S.    Front  St. 

585  ALLENTOWN— Harry  C.  Hohl,  P. 
0.  Box  1205.  Tele.:  2119  Washington  St. 
Bus.    Agt.:     LeRoy    Rau,    235    Water    St. 

621  ERIE— Michael  Campagna,  P.O.  Box 
435.  Tele.:  333  E.  25th  St.  Zip  16503. 
Bus.  Agt.:  Edward  P.  Krayer,  3506  Cherry 
St 

661  READING— LeRoy  Wagner,  389  Oak 
Terr.,  West  Reading.  Bus.  Agt.:  LeRoy 
Wagner. 

682  LANCASTER— Laird  A.  Hall,  P.  0. 
Box  645.  Tele.:  Ill  S.  Pearl  St  Bus. 
Agt.:    Laird    A.    Hall. 

RHODE   ISLAND 

223  PROVIDENCE— Sydney  T.  Clarke, 
1  Goolall  PI.,  Riverside,  Zone  15.  Bus. 
Agt.:  H.  F.  Slater,  675  County  Road, 
Barrington. 

SOUTH     DAKOTA 

556  SIOUX  FALLS— Roy  E.  Munson,  P. 
0.  Box  327.  Tele.:  932  N.  Spring  Ave. 
Bus.  Agt.:  Executive  Board,  c/o  K.  L. 
Lewis,   1603  S.   10th  Ave. 

TENNESSEE 

144  MEMPHIS— J.  W.  McAfee,  P.  0. 
Box  947,  Zone  1.  Tele.:  4707  Coro  Road. 
Bus.    Agt:    A.    G.    Shelton,    191    Elm   Ave. 

259  CHATTANOOGA  — W.  R.  Hundley, 
P.  0.  Box  1002.  Tele.:  1815  Everglades 
Blvd.,  Zone  11.  Bus.  Agt.:  Robert  B. 
Lowry,    6109    E.    Brainerd    Rd.,    Zone    11. 

405  KNOXVILLE-C.  V.  Warwick,  P.  0. 
Box  974.  Tele.:  New  Beverly  Church  Rd. 
Bus.  Agt:  John  McLean,  Lakeland  Drive, 
Lenoir  City. 

62fi — NASHVILLE— Stanley  E.  Hime,  P. 
0.  Box  626.  Nashville  2,  Tenn.  Tele.: 
4117  Lone  Oak  Rd.  Bus.  Agt:  Ben  C. 
Thomas.    1240    Kenmore    Place. 

TEXAS 

249  DALLAS— Harvey  D.  Hill.  Jr.,  P 
0.  Box  1584.  Tele.:  4319  Hall.  Bus.  Agt: 
Harvey    D.    Hill.    Sr.,    8647    Grove    Land. 

249-A  DALLAS-S.  R.  Tankersley,  2409 
South  Blvd.  Bus.  Agt:  S.  R.  Tankersley. 

279  HOUSTON  -Lewy  Evans,  1815  Walker 
Ave.  77003.  Bus.  Agt.:  E.  J.  Miller,  1815 
Walker    Ave.    77003. 

279-A  HOUSTON  Willie  Monie,  3272  E. 
Alabama  Ave..  Zone  4.  Bus.  Agt.:  Willis 
L.  Beat  Jr..  3002  Chimira  Lane,  Zone  51. 

305  GALVESTON  W.  M.  Scott  P.  0. 
Box  305.  Tele.:  R.  D.  1.  Box  934  Hitch- 
rock.  Bus.  Agt:  A.  J.  Warren,  4415 
Ave.    R. 

330  FORT  WORTH  B.  Y.  Coffman,  P. 
0.  Box  543,  Zone  1.  Tele.:  7348  Grapevine 
Hgwy.  Bus.  Agt.:  V.  0.  Huffines,  509 
Havnes    St. 

407  SAN  ANTONIO  -Henry  Villapadierna, 
P.  0.  Box  501.  Tele.:  1509  N.  W.  23rd 
St  Bus.  Agt.:  John  D  Dennis,  224  E. 
Courtland, 

597  WACO  R,iy  I.  Morrow.  Tele.:  2911 
Waco  Drive.  W.  Bus.  Agt:  H.  L.  Tulloch, 
145    Brewster    Drive. 

UTAH 

250  SALT  LAKE  CITY-Carl  E.  Peter- 
son, 3145  E.  2920  South.  Bus.  Agt  • 
James    F.    Sullivan,   2237    Broadmor   St. 

VIRGINIA 

370     RICHMOND— Howar-i  S.  Powers    Jr 
P.  0.   Box   1681.   Tele.:   7620   Elkhardt'  Rd! 
Bus.   Agt:    John   W.   Aders,    105   N.    Allen 
Ave. 

370-A  RICHMOND-Allie  Laury,  502  S 
Harrison    St.    Bus.    Agt:    Allie    Laury. 

550  NORFOLK— Alonzo  T.  Hughes,  P.  0 
Box  632,  Zip  23501.  Tele.:  56  Chat- 
ham Rd.,  Portsmouth.  Bus.  Agt.:  Alonzo 
T.    Huehes. 

550-A  NORFOLK— Albert  W.  Sprueill 
P.  0.  Box  1942.  Tele.:  2819  Beachmont 
Ave.  Bus.  Agt:  J.  P.  Omohundro,  1440 
Poescher  St. 

WASHINGTON 

154  SEATTLE— Gerald  Lloyd,  Room  124, 
Labor  Temple,  2800  First  Ave.  Tele.: 
18649  S.  E.  128th  St.,  Renton.  Bus. 
Agt.:  Ken  Dowling,  7931  California  Ave., 
S.    W. 

WEST   VIRGINIA 

500  CHARLESTON— Franklin  C.  Schoon- 
over.  P.  0.  Box  5,  Zone  21.  Tele.:  2104 
W.  Washington  St.,  Zone  2.  Bus.  Agt.: 
Ray    T.    Cummings,    100    Arlington    Ave. 

WISCONSIN 

164  MILWAUKEE— Oscar  E.  Olson,  454 
Cawker  Bldg.,  108  W.  Wells  St.  Tele.: 
604  W.  Maquon  Rd.,  112  N.  Mequon, 
Bus.    Agt.:    Oscar    E.   Olson. 

460  RACINE— D.  C.  Cavan,  1015  Ro- 
mayne  Ave.  Bus.  Agt.:  John  Ozowski, 
3015  Kearney  Ave. 

11 


Queens  Theatre  Gets 
$100,000  Face-Lifting 


A  $190,000  refurbishing  and  remodeling  of  the 
Strand  Theatre  in  the  Astoria  section  of  Queens,  N.  Y., 
was  recently  completed  by  veteran  theatre  operator  Sid- 
ney Dreier,  including  full  external  face  lifting  with  a 
new   marquee,   front   and   boxoffice. 

The  interior  design,  including  new  fireproof  fiber- 
glass gold  curtains  by  Chevron  Fiberglass  and  fiberglass 
walls  is  strikingly  but  simply  decorative,  featuring  floor 
to  ceiling  etlectrified  panels  on  the  orchestra  floor. 
Even  the  ceiling  over  the  loge  portion  of  the  1000-seat 
house  features  special  lighting  effects  and  was  super- 
vised by  Harry  Pear  of  National  Theatre   Supply. 

Booth  installation  was  under  the  direction  of  Bill 
Nafash  of  N.T.S.,  and  includes  Ashcraft  Corelight 
lamphouses  with  water  circulators  and  new  rectifiers. 
A  red  floral  pattern  carpeting  of  Alexander  Smith  is  a 
matching  companion  for  the  Phil  Furst  seating  in  the 
auditorium,  allowing  40  inches  from  back  to  back  for 
maximum  seating  comfort.  Seats  in  the  loge  are  in  mid- 
night blue  as  is  the  wall  color.  Orchestra  curtain  de- 
sign was  achieved  by  Manhoff  Studios.  The  marquee, 
using  Wagner  letters,  was  installed  by  Joseph  Berman 
Neon  Co.  of  Brooklyn.  The  new  front  was  the  work  of 
Superior  Front  Co.  of  the  Bronx. 

Dreier    recently    acquired   the   Julius   Joelson   circuit 


A  broad,  graceful  lobby  greets  Strand  theatre  patrons, 
and  offers  a  variety  of  concessions  from  a  convenient  area 
away  from  traffic. 

12 


in  the  Bronx  in  association  with  Harry  Brandt.  He  is  a 
director  of  the  Independent  Theatre  Owners  Association 
of  New  York,  and  operates  the  first-run  art  house  Astor 
in  Brooklyn,  also  in  partnership  with  Brandt.  iP 


An  old  friend  with  a  new  face  —  that's  the  Strand 
theatre  in  the  Astoria  section  of  Queens,  N.  Y.  Joseph 
Beoman  Neon  Co.  of  Brooklyn  furnished  the  new  marquee 
shown  in  the  photo  above. 


1  SIB 

'    J    ft    '  - 

Wmt.  \     JK     Ik     *    J 

Red  floral  carpeting,  by  Alexander  Smith,  compliments 
the  subdued  tones  of  the  Phil  Furst  seating  in  the  Strand 
auditorium. 


International  Projectionist 


July,  1964 


. 


Environmental'  Film 
Premiered  at  NY  Fair 

\n  unique  "environmental"  film 
program,  The  American  Journey,  is 
being  shown  at  the  United  States  Pa- 
vilion at  the  New  York  World's 
Fail . 

The  film  presentation,  produced  b> 
Cinerama,  Inc.  under  a  contract  with 
the  I  nited  Slate-  Fair  Commission, 
actuallv      has      its     audience     moving 

through  130  screens  depicting  the 
|i  10-year  histon  of  America. 

United  States  Fair  Commissioner 
Norman  K.  Winston  said  the  spec- 
tacular production  will  be  in  opera- 
non  continuous!)  at  the  Federal  Pa- 
vilion. Some  2,500  viewrs  an  hour 
can  Fe  accomodated  at  this  revolu- 
tionary motion  picture  show .  I  itl\  - 
Eve   views   at    a   lime  can   >il    in   open 

conveyances  and  In-  whisked  through 
an  unusual!)  designed  theater  that 
look-  something  like  a  big,  winding 
tunnel  .  .  .  onlv  tlii-  tunnel  is  com- 
prised mostl)  of  L30  movie  screens 
of   various   sizes   and   shapes. 

There  are  12  of  these  55-seal  ve- 
hicles, with  a  car  departing  from 
the  staging  area  even  !!•)  seconds 
to  carrj    viewers   through    the    1  ■>'•_. 

minute    -how.     Each    contour    seat     in 

the  moving  conveyance  is  individual- 
ly-equipped with  sterephonic  speak- 
ers in  the  headrest  In  this  way,  the 
story-line  narrative,  music,  and  sound 

effects  are  molded  into  the  varied 
tempo  of  the  visual  adventure.  One 
of  the  vehicles  i-  equipped  with  seats 
having  five-channel  selector  speak- 
ers, SO  viewer-  can  elect  to  heal'  the 
narration  in  cither  French,  German, 
Spanish,  Italian  or  English. 

New  Drive-in  Added 
To  Skouras  Circuit 

I  he  newest  addition  to  the  Skouras 
Theatres  Circuit,  the  I'lainfield  \ll 
Weather    Drive-In    Theatre,    located 

at  Oak  Tree  Road  and  Route  27. 
Edison,  New  Jersev.  had  its  opening 
March  25th.  The  theatre  accommo- 
dates 1  100  cars,  and  includes  a  lux- 
urious 1  Dill  I  seat  indoor  auditorium 
with  electronicall)  controlled  air  con- 
ditioning and  heating  to  provide  year- 
round  viewing  comfort. 

A  streamlined  refreshment  pavil- 
ion is  accessible  from  both  the  in- 
door and  outdoor  viewing  areas.  A 
patio  provides  seating  for  patrons 
who  wish  to  dine  outdoors  in  warm 
weather  and  watch  the  picture  on  the 
drive-ins  huge  screen  at  the  same 
time. 

The  kiddies  have  not  been  forgot- 
ten in  this  new  indoor-outdoor  enter- 
tainment palace.  iP 

International  Projectionist 


No  Spectacle 
3D  Process 
Due  This  Fall 

In  bvgone  da\s  when  red-and-blue 
bespectacled  audiences  gasped  as 
three-dimensional  wild  beasts  seemed 
to  leap  from  the  screen  at  them. 
everyone  recognized  the  entertain- 
ment potential  of  3D  viewing.  Rut 
one  objection  was  the  inconvenience 
of  the  little  cellophane  "glasses" 
audiences  had  to  wear,  \nother  was 
the  [OSS  of  useable  -eating  due  to  a 
degradation  of  3D  effect  at  the  sides 
i  I    the   audience. 

Before   the   end    of   the   veal  .    Marks 

Polarized  Corp.  of  White-tone.  N.  Y. 
intends  to  market  a  three-dimensional 
process  thai  can  be  used  to  overcome 
both  these  major  objection-  while 
adding   a  dynamic   new    presentation 

medium   for  motion  pictures. 

I  sing  standard  projectors  mounted 

in     tandem     ami     borrowing     an     idea 

from  live  stage  technology,  the  Marks 
organization  ha-  developed  what  the) 
consider  to  he  the  most  revolutionary 
advance  in  motion  picture  excitemenl 

-  ince  talkie-. 

I  he   major  difference   in   the   new 

process   i-   in   where,   not    how    (he  dual 

images  are  projected.  I  w  o  parallel 
com  ave  -en-en-  are  emplo) ed,  the 
rear    screen    a    -olid     reflecting     type 

upon  which  lie  background  image  is 
projected,  and  the  front  screen  scrim- 
like  affairs  to  receive  foreground 
images.  Recause  the  screens  are 
polai  ized,  image-  intended  for  the 
rear  screen  will  filter  through  its 
openings  without  being  reflected. 
I  ikewise,  an)  ■"bounce-hack  from 
I  he  rear  screen  is  rejected. 

Companv  spokesmen  sav  the)  will 
probabi)  license  their  patented  pro- 
cess alter  it-  introduction  latei  llii- 
year. 

Low  Cost,  Simple 
Zoom  Lens  Made 

A  Northrop  Corp.  scientist  reccnllv 
demonstrated  a  new  zocm  lens  that 
is   regarded    a    real    breakdiroujrh    in 


precision    optical   design. 

Glenn  Wooters,  who  developed  the 
mathematical  formulae  that  led  to 
the  production  of  a  prototype  this 
year,  gave  a  public  showing  of  a 
system  with  one  moving  part  capable 
of  magnifying  images  ten-fold.        iP 

Ballanryne  System 
Installations  Listed 

In  theatre  sales  Rallantyne  is  em- 
phasizing its  all  new  6-4-1  transistor- 
ized sound  system  for  small  and  large 
conventional  theatres.  This  system  has 
alread)  been  installed  in  shopping- 
center  theatres  in  Poughkeepsie,  New 
York.  Johnstown.  Pa..  Youngstown, 
Ohio  and  the  RKO  Orpheum  in  Den- 
ver. Col.  It  features  greatlv  improved 
sound  qualitv,  and  flexibility.  Com- 
panv officials  describe  the  transist- 
orized svstem  as  true  hi-fidelity  with 
great  clarilv    and   presence. 

The  equipment  finance  package,  in 
addition  to  Rallantv  ne.  includes:  Nor- 
elco  projectors.  Ideal  seating,  Wil- 
liam- and  Technikote  screens.  Mo- 
hawk carpet,  General  Register.  John- 
sou  coin  changers.  Strong  arc  lamps 
and  rectifiers.  Neumade  film  han- 
dling equipment,  Bausch  &  Lomb. 
Kollmorgen  or  Super  Kiptar  lenses, 
Goldberg  reels  and  Metropolitan 
Slaue    wall    and    staire    draperies,    il* 


ASHCRAFT 

CORE-LIGHT 

SUPER  CINEX 

CINEX  SPECIAL 

PROJECTION  LAMPS 

And 

HIGH  RECTANCE 

MULTI-PHASE 

RECTIFIERS 

World's  Standard  of 
Projection  Excellence 


HEYER-SHULTZ 
METAL  REFLECTORS 

Top  Screen  Illumination 

Will  Not  Break,  Pit  or  Tarnish 

No  Replacement  or  Spare  Reflectors  Required 

See  your  dealer  or  write  for  full  particulars 
Manufactured  By  HEYER-SHULTZ,  Inc.,  Cedar  Grove,  N.  J. 


July,  1964 


13 


Committees  Named 
For  SMPTE  Meet 
Sept  27 -Oct  2 

C  Russell  Dupree,  of  J.  A.  Maurer, 
Inc.,  has  been  named  General  Chair- 
man of  arrangements  for  the  96th 
Technical  Conference  of  the  Society 
of  Motion  Picture  and  Television 
Engineers  (SMPTE)  scheduled  this 
fall. 

Arthur  J.  Miller,  of  Du  Art  Film 
Laboratories,  will  serve  as  vice-chair- 
man of  arrangements.  The  confer- 
ence will  be  held  September  27 
through  October  2  at  the  Commo- 
dore  Hotel,   New  York  City. 

These  and  other  appointments  were 
announced  by  Conference  Vice-Presi- 
dent George  W.  Colburn. 

Others  who  will  serve  on  the  vari- 
ous committees  are:  Dominick  J. 
Capano,  Sheldon  Kaplan,  Frank 
Bucci,  Herbert  De  Groot,  Calvin  M. 
Hotchkiss,  Stan  Appenzella,  Robert 
Nothdurft,  Donald  H.  Horton,  Saul 
Jeffee,  John  E.  Asher,  Jack  Haber, 
Harold  J.  Freedman,  Robert  Crane, 
Charles  Austin,  Peter  P.  Cardasis, 
Pat  Mule,  Edward  A.  Winkler,  and 
Harold    Jones. 

Program  Chairman  for  the  SMPTE 
conference  is  John  J.  Kowalak  of 
Movielab,  Inc.,  619  West  54th  St., 
New  York.  The  deadline  for  ab- 
stracts of  papers  is  June  17;  reading 
copies  of  these  papers  must  be  sub- 
mitted no  later  than  August  5. 

Topic  areas  for  technical  papers 
to  be  presented  during  the  week-long 
confernece  are  new  techniques  for 
World's  Fair  projection;  cinema- 
tography; motion  pictures  and  televi- 
sion for  education;  special  effects 
and  optics;  laboratory  practices; 
medical  motion  pictures  and  televi- 
sion; instrumentation  and  high- 
speed photography;  television  engi- 
neering and  production;  8mm  and 
small-format  films;  space  technology, 
and  sound  recording. 

Kodak  Sales   Post 
to  Messner 

NEW  YORK— Frederick  W.  Mess- 
ner, technical  sales  supervisor  of 
Eastman  Kodak  Company's  North- 
eastern Sales  Division,  has  been  ap- 
pointed division  sales  manager  for 
professional  products.  He  succeeds 
Louis  J.  Parker,  who  was  appointed 
assistant  to  the  general  manager  of 
Eastman  Kodak  Stores. 

Succeeding  Messner  as  technical 
sales  supervisor  is  James  A.  Unger- 
man,  now  serving  as  professional 
technical  sales  representative  in  the 
Northeastern  Sales  Division.  iP 


Congress  Rules 
Luminous  Intensity 
Now  Called  'Candela' 

A  recent  Act  of  Congress  (PL  88- 
165)  changed  the  name  of  the  unit 
of  luminous  intensity  from  candle 
to  candela.  This  action  should  bring 
usuage  in  this  country  into  conform- 
ity with  that  of  the  rest  of  the  scienti- 
fic world.  The  size  of  the  unit  was 
not   affected  by  this  action. 

The  International  Committee  on 
Weights  and  Measures  agreed  in 
1946  to  new  definitions  of  the  units 
of  electricity  and  of  light,  to  go  into 
effect  January  1,  1948.  In  anticipa- 
tion of  this  action,  legislation  was 
introduced  in  the  U.  S.  Congress  to 
alter  the  legal  definitions  of  the 
electrical  units  and  to  adopt  legal 
definitions  of  the  unit  of  light. 

The  unit  of  luminous  intensity 
(luminous  intensity  is  commonly 
called  candlepower)  was  defined  by 
both  the  International  Committee  and 
Congress  as  1/60  of  the  luminous 
intensity  of  1cm2  of  a  blackbody 
at  the  temperature  of  freezing  plati- 
num (1769  °C  IPTS).  The  name  se- 
lected for  this  unit  for  international 
usage  was  candela,  the  Latin  word 
for  candle,  but  in  conformity  with 
common  usage  in  this  country  it  was 
translated  as  candle  and  incorporated 
into  law. 

As  international  usage  of  the  term 
candela  grew,  it  became  obvious  that 
possible  confusion  would  be  lessen- 
ed if  a  common  terminology  were 
employed.  As  an  example  of  the  am- 
biguity that  has  grown  up,  the  Na- 
tional Bureau  of  Standards  has  been 
using  candle  on  its  domestic  calibra- 
tion reports,  but  candela  in  reports 
to  the  International  Bureau  of 
Weights  and  Measures. 

Furthermore,  the  Illuminating 
Engineering  Society  of  this  country 
has  been  using  candela  since  1959. 
To  clarify  this  situation,  NBS  backed 
legislation  which  resulted  in  the 
change  to  candela  and  which  should 
bring    about    uniformity     of     usage. 

iP 

Wenzel  Projector 
Company  Sold 

The  acquisition  of  the  Wenzel  Pro- 
jector Co.  by  Edward  H.  Wolk  Co. 
was  announced  recently.  Both  Chi- 
cago firms  have  been  in  the  motion 
picture  theatre  equipment  business 
for  more  than  40  years. 

Fred  J.  Wenzel,  president  of  the 
firm  his  brother  founded,  announced 
his  retirement  at  the  same  time  the 
sale  was  noted.  He  had  guided  the 
firm  since  Mack  Wenzel  died  in  1941. 

iP 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF   CARBON   CORP.    East  McKeesport.  Pa 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

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'America's 

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for  all 

theatre  equipment 


supplies 


National 

THEATRE  SUPPLY  COMPANY 


14 


International  Projectionist 


July,  1964 


basic 
mathematics 

by  NOB  MAN  N.  CROWHURIT 


_r 


— 


VOLUMES 
1  through  4 
COMPLETE 

ROM  (OUNTMC 
UiClAUS 
»  MOMtN 
i  AfnOACH 

ro  lunouncs 

a»  m  u«s 


PRACTICAL 
WETHOD 


51 


LEARNING 


r 


A  RIDER 


BASIC   MATHEMATICS 

£>;/  Norman  H.  Crowhurst 

4-volume  pictured  text'  course  makes  it  easier  than 
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This  remarkable  4-volume  course  takes  you  in  easy 
stages  from  counting  through  algebra,  geometry, 
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Volume  I  —  ARITHMETIC  AS  AN  OUTGROWTH  OF 
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Volume  III  —  DEVELOPING  ALGEBRA,  GEOMETRY, 
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Available  at  parts  distributors,   bookstores,   or  direct. 


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Please   send    these    paperback    volumes: 

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Name 
Address 
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Zone 


State 


Library  of  Congress 
Order  Division     (o368l) 
Washington  25,  D,C* 


BEN    HUR   DRIVE-IN  THEATRE   CRAWFORDSVILLE,   INDIANA 


4&jfa0l&  Futura  Projection  Lamps  Deliver 

4  TIMES  THE  LIGHT 

— says  Trueman  T.  Rembusch.,  one  whom  slio-u-ld.  kno-w 


- "  _,    TT  Lamps    and 

Bi_Powr  Rec;tx.11p      mdiana. 

at  cravfordsvxlle/  re£lected   screen 

,-re   talcen  of  reV  =  trong   la^P 
^ondinqs  were    <-  eW  Btru»y 

twice  as  mucn. 


twice  as  mucn.  ^  ^^  Tu£_Cold 

I  was  very  ^^f|trong  L»«P9  ■ 

Reflectors    m  the  .       , ^,,: 

.    .-,.„    "strong    lv 


t  vas  very    r"r Z^   Strong   i^r- 

Reflectors    in  the  Tu£_cold"  ^flectors^ 

,    x.v.e    "Strong   T^Jr^    rear   coated  ron 
Xn  ^  <*»*££ \s ''efficient   as   tbe 
about   two  tunes  ^^   ^^ 


yours   truly. 

******  •^*%'J0i' 


.„   m     Rambus ch 
■Xrueman    J-  •   ^ 
president 


You,  too,  should  get  Futuras 
and  enjoy  the  advantage  of 
the  extra  measure  of  light 
available  for  35mm  and  70 
mm  projection  to  big  drive- 
in  and  indoor  screens... the 
greatest  amount  of  light 
ever  delivered  per  carbon 
dollar. 


Send  l/o*  biocluvie 


The  ^*"&  Electric  Corp. 


31  City  Park  Avenue,  Toledo,  Ohio  43601 


Phone:   (419)  248-3741 


>./* 


:%W    ^t 


MS^L 


1/* 


Admiring  the  new  Ashcraft  Core-lite  lamps 
recently  mated  to  Norelco  70mm  projectors 
at  the  Fox  Aladdin  Theatre,  Denver,  is  chief 
projectionist  Les  Reimer.  Operating  figures 
/  show  that  the  resulting  high  quality  is  at- 
tended by  significant  cost  reductions.  (See 
story  on  page   11). 


AUGUST 
VOLUME  39 
40c  A  COPY 


1964 
NUMBER  8 
$3.00  A  YEAR 


ssaa3uoo  jo  Areiqxi 


7% 


jl  e_y 


BEN   HUR   DRIVE-IN  THEATRE  CRAWFORDSVILLE,   INDIANA 


p2nft&&  Futura  Projection  Lamps  Deliver 

4  TIMES  THE  LIGHT 

— says  Trueman  T.  Rembusch,  one  -wlio       sliouilci  know 


,_  _^   tt  i,amps  and 

-  Z^^«  StrBInFSurr5rfve-Xn  ^atre 

We  recently   g  ^  oar  B-n  n 

Bi_Powr  ReCt:L.T1p      Indiana. 
at  crawforasville,    xn  re£iected  screen 

„Pre   talcen  of  rex*  g   lamp 

twice   as  much.  ^    „strong  Tuf-Cold 

I  vaS  foS  SP  tSSesdtroyng  Lamps  - 
Reflectors   xn 

Yours   truly/ 
SYNDICATE   THEM*BS 


INC. 


„   t     Rembusch 
Trueman   i •   ** 
president 


You ,  too,  should  get  Futur  as 
and  enjoy  the  advantage  of 
the  extra  measure  of  light 
available  for  35mm  and  70 
mm  projection  to  big  drive- 
in  and  indoor  screens. ..the 
greatest  amount  of  light 
ever  delivered  per  carbon 
dollar. 


Send  l/vi  Itsiocktite 


The  ^*"&  Electric  Corp. 


31  City  Park  Avenue,  Toledo,  Ohio  43601 


Phone:  (419)  248-3741 


INTERNATIONAL 

PROJ  ECTIONIST 


Volume  39 


August  1964 


No.  8 


FRANK   W.   COOLEY,    JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Monoging   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO   ASSOCIATES 

National  Advertising  Representatives 

545  Fifth  Avenue.   New  York    17,   N.   Y. 

Telephone    Murrayhill    7-7746 

(Area   Code   212) 


IN  THIS  ISSUE 

House   Committee    Hears  Appeal  4 

Lincoln    Art   Theatre   Opens  6 

From    Broadway    To   Main    Street  6 

IATSE    Convention    Report  10 

The  cover  story: — 

ASHCRAFT  Corelite   Lamps  11 

News    Notes  —  Technical    Hints  —  Miscellaneous    Notes 


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August.  1964 


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International  Projectionist 


INTERNATIONAL   PROJECTIONIST 


Volume  39 


August,  1964 


Number  8 


IATSE  Approves  Strong 
Measures  at  Convention 


Unanimous  Vote 
For  R.  F.  Walsh 
at  I.A.T.S.E. 

Richard  F.  Walsh  was  elected 
unanimously  to  a  12th  term  as  presi- 
dent of  I.A.T.S.E.  at  the  group's 
convention  in  Louisville. 

In  addition,  a  series  of  resolutions 
read  in  the  meeting  praised  Walsh's 
activities  over  the  years  in  behalf  of 
the 


Delegates  to  the  I.A.T.S.E.  convention  in  Louisville,  Ky.  voted  to  ask 
Congress  to  investigate  the  adverse  effects  of  the  divorcement  action  of  1949, 
which  separated  production,  distribution  and  theatre  exhibition  operations  by 
law.  

Characterizing  the  15-year-old 
Consent  Decree  as  "outmoded,"  the 
convention  called  upon  Richard  F. 
Walsh,  IA  president,  to  take  appro- 
priate action  in  the  legislative  field 
to  have  the  decree  altered  or  re- 
moved so  that  distribution  groups 
could  be  free  to  build  more  and 
newer  theatres,  but  urged  that  such 
action  be  independent  of  exhibitor 
action  because  of  possible  manage- 
ment-labor legal   involvements. 

The  same  resolution  also  asked  for 
Federal  subsidies  for  American  film 
producers. 

In  other  action  the  convention 
also  went  on  record  as  opposing  any 
tariff  cut  on  finished  positive  film 
imported  from  abroad.  Richard  Gra- 
maglia,  New  York  Laboratory  Tech- 
nicians, Local  702,  joined  by  Holly- 
wood laboratory  spokesmen  spoke 
urgently  on  the  subject. 

Other  resolutions  called  on  the 
Government  to  process  documentary, 
training  and  information  films 
through  industry  laboratories;  urged 
strong  medical  legislation  and  sought 
repeal  of  restrictive  labor  legislation. 

Efforts  to  make  local  union  affilia- 
tion with  districts  voluntary  were 
defeated  despite  the  eloquent  efforts 
of  Steve  DTnzillo,  New  York  Pro- 
jectionists Local  306,  to  bring  about 
passage  of  this  resolution. 

Several  resolutions  which  sought  to 
increase  the  number  of  International 
vice  presidents,  one  of  whom  would 
specifically  represent  motion  picture 
studios,  were  deferred  for  further 
study  and  action  by  the  convention. 

AFL-CIO  COPE  (Committee  on 
Political  Education )  director  Alexan- 
der Barkin  called  upon  the  conven- 
tion to  participate  actively  in  the 
November  elections  in  behalf  of 
labor-oriented  candidates  who  will 
fight  to  protect  and  implement  labor's 
rights   and   gains.  IP 


Other  officers  elected  unanimously 
and  without  opposition  were:  Harlan 
Holmden,  general  secretary-treasurer; 
first  vice  president,  James  J.  Annan, 
Ramsey,  N.  J.;  second  vice  presi- 
dent; Harry  D.  Abbott,  Philadelphia: 
3rd  vp,  Orin  M.  Jaccbson,  Tacoma, 
Wash.;  4th  vp,  John  A.  Shuff,  Akron. 
Ohio;  5th  vp,  Leo  R.  Up'on,  St. 
I  ouis,  Mo.;  6th  vp,  George  J.  Flah- 
erty, Hollywood,  Calif.;  7th  vp, 
Edward  J.  Miller,  Houston,  Tex.;  8th 
vp,  Hugh  J.  Sedgewick,  Hamilton, 
Ontario;  9th  vp,  Jerry  Tomasetti, 
Brooklyn,  N.  Y.  Trustees:  William 
N.  Scanlan,  Lynn,  Mass.;  R.  E.  Mor- 
ris, Mobile,  Ala.;  George  W.  Bray- 
field,  Olden,  Colo.  Delegates  to 
AFL-CIO,  Fred  Jienicke,  Seattle. 
Wash. ;  Richard  Hancox,  Jersey  City. 
Delegate  to  Canadian  Labor  Con- 
gress, William  G.  Dale,  Toronto. 


4 


SPECIAL  IA  GAVEL  —  Bruce  J.  Colville  (left),  business  representative  of 
Hollywood  Studio  Property  Craftsmen's  Local  44,  gives  a  very  special  gavel  to 
International  President  Richard  F.  Walsh  at  the  recent  IATSE  convention  in 
Louisville,  Ky.  It  was  made  by  Vern  Tinsdale  of  Local  44.  The  head  is  laminated 
from  white  maple  salvaged  from  a  miniature  used  in  filming  "Mutiny  of  the 
Bounty"  and  black  walnut  from  one  of  the  chests  used  in  "Cleopatra."  The  handle 
is  of  birch  from  "The  Greatest  Story  Ever  Told"  and  walnut  from  a  character 
chair  in  "My  Fair  Lady." 

International  Projectionist  August,  1964 


'    .       .     K 


r 


CD 
CD 
CO 

CD 


co 
en. 

col 
o  11 


At 


m  It's  no  box  office  secret 
that  more  ticket  purchasers  keep 
coming  back  when  you  sell  this  triple 
feature"performance  package'.'.. 
1.  A  good  movie!  2.The  finest  screen 
lighting!  3.  A  comfortable  theatre! 


Play  it  safe— light  up  with  "National"  projector  car- 
bons. Guarantee  your  patrons  a  brighter,  clearer  pic- 
ture. 

If  you  want  proof  of  the  importance  of  a  well- 
lighted  screen  presentation— just  try  dimming  the 
screen  light  for  a  few  minutes! 

The  spontaneous  and  noisy  reaction  of  your  audi- 
ence will  quickly  tell  you  how  movie  patrons  feel  when 
screen  lighting  isn't  up  to  par. 

You'll  save  money,  too,  because  "National"  car- 
bons are  slower-burning! 


UNION 
CARBIDE 


"National"  is  a  registered  trade- mark  of 

UNION  CARBIDE  CORPORATION 

CARBON  PRODUCTS  DIVISION 
270  Park  Avenue  •  New  York,  N.  Y.  10017 
In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


International  Projectionist  August.  1964 


Lincoln  Art  Theatre 
Graces  West  50's 


Simplex  equipment  is  featured  in  the  projection  booth  of 
the  Lincoln  Art  Theatre. 


^.ii.iM>CT«  ■>?»;*• 


MXCOLX  AET 


An  attractive  front  combines  the  modern  sleekness  of 
marble  and  glass  with  the  dignity  of  broad-serif  letters 
reminiscent  of  the  1860's. 


New  York's  newest  motion  picture  theatre,  the  Lincoln 
Art,  located  at  225  West  57th  Street,  was  dedicated  at 
its  opening  July  21  to  President  Abraham  Lincoln  by 
Joseph  E.  Levine,  president  of  Embassy  Pictures. 

Decor  of  the  570-seat  theatre  is  Lincolnian  and 
Victorian. 

Architect  for  the  theatre,  which  has  a  modern  front 
of  veined  marble  and  plate  glass,  was  William  Ely  Kohn. 
Interior  decoration  was  by  Yale  R.  Burge,  Inc.  Building 
and  general  contractor  was  Lasberg,  Inc. 

Decorative  focal  points  inside  the  Lincoln  Art  Theatre 
are  enlarged  prints  of  Lincoln,  made  from  old  newspaper 
clippings.  Included  are  scenes  of  the  White  House  ball- 
room and  the  President's  inaugural  parade.  An  impres- 
sive Lincoln  bust  stands  on  a  pedestal  in  the  entrance 
area.  A  large  standing  portrait  of  Lincoln,  from  a  little 
known  engraving,  keynotes  the  first-floor  lounge. 

Furniture,  in  deep,  vibrant  colors,  is  in  Victorian 
style.  Period  mirrors  and  consoles,  in  gilt,  are  high- 
lighted by  ruby-red  damask  and  striped  olive-green  flock 
wallpapers.  Featured  in  the  lower  lounge  are  a  Franklin 
stove  and  iron  furniture  of  the  Civil  War  period.  The 
large  chandelier  in  the  lobby  is  also  typical  of  the 
gaslight  fixtures  of  the  period.  Boldly  patterned  carpets 
enhance   the   mid-1800   mood. 

The  ticket  booth,  adapted  from  one  used  in  a  Victor- 
ian opera  house,  is  of  panelled  mahogany,  with  etched- 
glass  front  panels  and  brilliant  lacquer-red,  flock  wall- 
paper. 

Other  appointments  are  as  follows:  carpeting,  Alex- 
ander Smith,  by  National  Theatre  Supply;  chairs,  Ameri- 
can Seating  Co.;  curtain  controls,  ADC;  screen,  Techni- 
kote;  sound,  National  Theatre  Supply;  amplifiers, 
Simplex  Altec;  changeovers,  Tide;  film  cabinets, 
Neumade;  generators/rectifiers,  Ashcraft;  lenses, 
Bausch  &  Lomb,  Kollmorgan;  pre-amplifiers,  Simplex 
Altec;  projection  lamps.  Peerless  Magnarc;  projectors, 
Simplex-X-L;  rewinders,  Neumade:  sound  heads, 
Simplex-X-L;  speakers,  Altec;  splicers,  Neumade;  signs, 
Artkraft  Strauss  Sign  Corp.;  and  ticket  machines, 
General  Register. 

The  Lincoln  Art  Theatre  runs  through  the  complete 
block  from  57  to  58th  Street.  Lobby  and  entrance  area 
is  on  the  main  floor  of  the  12-story  building,  facing  57th 
Street.  The  auditorium  is  on  the  site  of  what  was  a 
parking  lot  facing  58th  Street.  iP 


International  Projectionist 


August.  1964 


LBJ  Hosts  As  Kodak 
Receives  Award    For 
Foreign  Success 

President  Johnson  presented  East- 
man Kodak  Company  with  an  Export 
"E"  Award  recently  at  the  White 
House. 

W  illiam  S.  Vaughn,  president  and 
chief  executive  officer  of  the  corn- 
pan),  accepted  the  award  in  Wash- 
ington at  a  special  ceremony  spon- 
sored hy  the  Department  of  Com- 
merce to  mark  the  500th  "E"  Ward 
presentation. 

Kodak  received  the  award  for 
"success  in  export  markets."  Prin- 
cipally due  to  higher  export  sales. 
Kodak  has  earned  a  total  of  almost 
$500  million  in  foreign  exchange  for 
the  United  States  during  the  past  five 
years,  a  report  indicated. 

That  sum  represents  the  amount  l>\ 
which  Kodak  receipts  from  abroad 
exceeded  expenditures  for  imports, 
additional  dollar  investments  in 
foreign  subsidiary  companies,  and 
dividend  and  royaltv  payments  to 
foreigners. 

Sales  to  export  dealers  and  to 
Kodak  associate  companies  outside 
the  United  States  during  L963  totaled 
1 1  10.2  million,  about  1<>  percent 
higher  than  those  recorded  in  the 
preceding  year.  Exports  accounted 
for  about  13  percent  of  the  com- 
pany's total  sales  in  L963,  compared 
M  itli    12  percent    in    L962. 

A  report  submitted  l>\  the  company 
at  the  request  of  the  Department  of 
Commerce  indicates  that  Kodak's  ex- 
ports increased  $45.7  million  or  56 
percent  from  1957-62.  In  that  same 
interval,  total  I*.  S.  exports  of  mer- 
chandise increased  6  percent  and 
total  U.  S.  gross  national  product 
rose  25  percent.  iP 


Stodter  Retires; 
SMPTE  Names 
Bernhard  to  Post 

Lewis  A.  Bernhard.  Jr..  has  been 
named  executive  secretary  of  the 
Society  of  Motion  Picture  and  Tele- 
vision Engineers  i  SMPTE  I.  He  suc- 
ceeds Col.  Char- 
les S.  Stodter. 
who  is  retiring 
after  serving  the 
Society  since 
L956. 

Bernh  a  r  d 
comes  to  SMPTE 
from  the  Society, 
of  Plastics  Engi- 
neers, where  he 
had  been  admin- 
istrative manager 
L955.  During  liis  nine  years 
the  plastics  society,  Bernhard 
saw  membership  triple  in  number. 
Mr.  Bernhard,  in  addition  to  mem- 
bership promotion,  was  responsible 
for  publications  promotion,  technical 
conference  management  and  business 
affairs  of  the  plastics  group. 

A  native  and  resident  of  Stamford, 
Conn..  Mr.  Bernhard  holds  a  degree 

in  chemistry  and  business  administra- 
tion from  r  ordham  University.  Be- 
fore entering  Fordham.  he  served  as 
a  Nuv  v  petty  officer  first  class  during 
World  War  II. 

Mr.  Bernhard  was  employed  as 
laboratory  chemist  at  St.  Joseph's 
Hospital  in  Stamford  and  in  the 
quality-control   department   of   Mach- 


American  Theatre 


Bernhard 


since 

with 


Charles  W.  Wainvvright,  Local  -55, 
I.A.T.S.E.,  is  shown  threading  up  for 
the  first  show  after  the  recent  installa- 
tion of  new  Strong  Futura  projection 
arc  Limps  at  the  American  Theatre, 
Roanoke,  Virginia. 


lett  Laboratories.  Springdale.  Conn., 
before  joining  the  Society  of  Plastics 
Engineers. 

The  retiring  SMPTE  executive 
secretary.  Col.  Stodter,  retired  in 
10.5  1  after  a  30-year  Army  career, 
the  last  four  years  of  which  he  served 
as  chief  of  the  Army  Pictorial  Ser- 
vice. Following  his  retirement  from 
the  Army.  Col.  Stodter  was  engaged 
in  communications  research  at  the 
University  of  Pennsylvania. 

SMPTE.  founded  in  1916  as  the 
Society  of  Motion  Picture  Engineers, 
is  a  professional  organization  of 
engineers  and  executives  in  the  fields 
of  motion  pictures,  television,  photo- 
instrumentation  and  high  -  speed 
photography.  iP 


The    gallery    features    groupings    of    period    furniture    and 
authentic  wall  hangings. 

International  Projectionist  August,  1964 


The  brilliance  of  the  Technikote  screen  is  apparent  in  this 
view  from  the  rear  of  the  auditorium. 


Theatrofilm  Brings  B'way  to  Main  St. 


Through  the  medium  of  Theatrofilm,  the  capturing  on  film  of  action  on  the  live 
stage,  top  companies  are  now  able  to  "tour"  without  leaving  home  base.  In  a 
scene  from  ''Hamlet,"  one  play  recently  rendered  in  the  new  medium,  we  see 
(left  to  right)  such  stars  as  Richard  Burton  as  the  Melancholy  Dane;  Alfred 
Drake  as  a  modern  Claudius;  Hume  Cronyn  as  Polonius;  and  Eileen  Herlie  as 
Gertrude,  Hamlet's  "father's  brother's  wife,  and  —  were  it  not  so  —  my 
mother." 

Play's  The  Thing  —  On  Theatrofilm 

By  Charles  Washburn 

The  original  cast  intact,  exactly  as  seen  on  Broadway,  now  becomes  a 
fact  for  the  first  time  in  American  theatricals.  Even  the  smallest  as  well  as 
the  biggest  roles  go  on  tour.  The  original  scenic  production,  too,  takes  to  the 
road.  Thanks  to  Theatrofilm  cameramen,  the  Richard  Burton  Hamlet  comes 
direct  to  sticks,  stony  points  and  stellar  cities  from  the  Lunt-Fontanne  plush 
Broadway  theatre. 

The  viewer  will  be  in  a  down-front  seat  in  some  1,000  picture  houses 
seeing  a  performance  at  less  than  one-third  (not  counting  the  extra  $10  to 
he'd  have  paid  scalpers)   the  Manhattan  tariff. 

stage  play.  No  strange  screenwriters 
to  overshadow  Shakespeare  on  the 
house  boards;  no  misspelling  his 
name  on  banners  nor  hams  in  his 
great  "Hamlet." 


More  than  this,  he'll  be  "mingling 
with  the  old  time  throng"  because 
there  are  shots  of  the  audience,  the 
pushing  and  shoving  at  the  stage 
door  for  Burton  autographs,  and  the 
commotion  at  the  box  office  just  for 
standing  room.  Everything  for  the 
road  showing,  through  the  genius  of 
cameramen  and  what  is  called 
Electron-O-Vision,  except  the  loss  of 
buttons  torn  from  the  clothing  by 
the  wild  drama  lovers.  Shakespeare 
never  before  had  anything  to  even 
approach  it. 

If  The  Bard's  astral  body  is  hang- 
ing around,  the  chances  are  he  will 
stay  out  of  his  tomb  long  enough  to 
appreciate  what  is  the  most  important 
technical   treatment   ever    afforded    a 

8 


Let's  look  behind  the  scenes  while 
cameras  grind  the  first  true  transition 
of  stage  to  screen. 

Occasionally  we  see  a  closeup  of 
Burton,  which  is  more  than  the  New 
York  balcony  seat-holder  in  New 
York  ever  sees;  but  this  only  for  a 
few  seconds  —  the  play  must  go  on. 

All  around  are  cameras,  somewhat 
comparable  to  videotape  devices,  but 
now  concerned  with  making  an  exact 
replica  of  the  Broadway  performance. 

Hamlet  is  on  view  to  a  New  York 
audience.     What    they    are    seeing    is 


exactly  what  you'll  see  in  Cherry 
Valley  or  Valley  Forge.  The  play 
isn't  on  location,  nor  are  there  studio 
sets.  It  is  in  a  theatre  and  it  shall 
remain  in  the  theatre  —  on  the  new 
Theatrofilm.  The  real,  diamond- 
studded  live  gathering  applauds.  The 
cameras  silently  click  Broadway  as 
Broadway  has  never  been  clicked 
before  .  Even  audiences  unknowingly, 
are  lensed  in  all  their  eager  enthu- 


siasm. 


See  photo  on 
page  14 


Electron-O-Vision  is  an  indepen- 
dent New  York  corporation  formed 
this  year.  William  Sargent,  Jr.,  is 
president ;  Alfred  W.  Crown,  is  execu- 
tive vice  president.  William  Colleran 
directed  this  film  duplicate  of  the 
John  Gielgud  production.  William 
Sargent,  Sr.,  is  treasurer;  Albert  W. 
Ham,  is  secretary.  These  are  the 
master  minds  behind  a  specially- 
developed  electronic  process  for 
photographing  and  recording  stage 
production. 

Available  light  from  the  stage  is 
adequate,  thus  no  display  of  equip- 
ment is  ever  visible  to  the  audience. 
As  for  Theatrofilm,  it  is  a  registered 
trademark.  The  finished  product  can 
be  shown  on  any  standard  motion 
picture  projector  without  special 
equipment.  The  picture  is  made  on 
high  speed  film,  using  special 
cameras  operated  by  specially-trained 
operators ;  while,  as  in  this  case,  Bur- 
ton's Hamlet,  is  being  performed  to  a 
live,  cheering  throng. 

Motion  picture  houses  everywhere 
can  show  the  production.  Only  four 
performances  per  engagement  are 
currently  scheduled,  on  a  reserved 
seat  basis.  In  most  cases  the  seats 
will  not  be  especially  reserved  by 
number. 

Warner  Bros,  have  assigned  a 
large  staff  to  the  distribution  and 
promotion  of  this  extraordinary  film. 
Benj.  Kalmenson,  Warner  executive, 
is  directing  its  far-flung  distribution. 

Not  to  be  overlooked  in  the  man- 
agerial setup  are  Richard  Lederer. 
executive  vice-president  and  director 
of  Warner  advertising  and  public  re- 
lations, and  Morey  (Razz)  Goldstein. 
Goldstein  headed  the  Chicago  con- 
ference. Joe  Hymas  is  national  pub- 
licity manager. 

Others  include:  Ernie  Grossman, 
studio  publicity  director;  Max  Stein, 
field  coordinator;  Jules  Lapidus. 
Ralph  Iannuzzi,  Robert  L.  Conn,  Ollie 
Williamson  and  Al  Grubstick,  Haskell 
M.  Masters  and  Robert  E.  Myers. 

iP 


International  Projectionist  August,  1964 


Walter  Reade-Sterling 
Acquires   San    Francisco 
First-run  Theatre 

The  Bridge  Theatre,  first-run 
specialized  motion  picture  house  in 
San  Francisco,  became  a  unit  of  the 
Walter  Reade-Sterling,  Inc.  organiza- 
tion on  August  1st.  it  was  announced 
jointl)  In  Waller  Reade,  Jr.,  Chair- 
man of  the  Board,  and  Maun  \. 
Schwarz,  of  The  Bridge, 

Schwarz  will  continue  to  operate 
the  theatre,  with  the  supervision  of 
Waller  [{eade-Stei  ling.  Keade  saiil 
that  the  arrangements  were  consis- 
tent with  his  company's  growth  pro- 
gram, and  that  when  other  opportuni- 
ties presented  themselves,  his  com- 
pan}  would  continue  to  add  theatres 
in  other  major  cities,  beyond  its 
present  East  Coasl  base  ol  operations. 

W  ithout  interruption  to  its  regular 
performance  schedule.  I  he  Bridue 
will  he  refurbished,  and  it>  projection 
and  sound  equipment  rechecked,  to 
maintain  it  as  one  <>l  the  W  esl  Coast  - 
best  and  most  comfortable  cinemas, 
Reade  said.  The  W  alter  Reade- 
Sterling  organization  operates  50 
theatres  in  the  New  York-New  Jersej 
area.-,  and  is  also  one  of  the  nation  - 
largest  independent  producers  and 
distributors  «>f  motion  picture-  For 
theatre-,  television,  education,  ami 
non-commercial  use. 

Strong   Products  Used 
Widely  at  Fair 

\  isitors  of  the  W  mid'-  fair  can  see 
Strong  Electric  Corporation  products 

used  in  even  section  of  the  fair,  the 
I  .  S.  < -o\ri  nment.  industrial,  foreign, 
-late,  amusement  and  transportation 

areas. 

Mans  larger  exhibits  are  emplo\- 
ing  Strong  carbon  arc  follow  spot- 
lights, incandescent  follow  spotlights, 
carbon  arc  projection  lamps.  Xenon 
projection  lamps  for  automated  pro- 

i  gramming.  and  rectifiers  for  the  pro- 
jection of  film  presentations  or  light- 
ing of  live  stane.  water  and  ice  shows. 
Exhibits  include  those  of  the  U.  S. 
Federal    Government.     IBM.    United 

I  Air  Lines.  Dupont.  the  Hall  of 
Science.  Better  Living  exhibit,  Span- 
ish Pavilion,  the   Texas  Pa\ilion.  and 

I  amphitheatre,  representing  a  total  of 
57  devices.  iP 


Space  Journey 
Film  Thrills 
Fair  Visitors 

"To  the  Moon  and  Beyond."  a 
motion  picture  filmed  and  shown  in 
the  Cinerama  360-degree  Spacearium 
process,  is  being  shown  l>\  co-spon- 
-ois  Cinerama.  Inc.  and  KLM  Royal 
Dutch  Airlines  at  the  Transportation 
and  Travel  Pavilion  of  the  New  York 
W  orld's  Fair. 

The  inner  surface  of  a  70-foot  high 
dome  provides  the  screen  for  an 
audience  of  700  seated  below.  A 
modified  70mm  projector,  using  a 
special  lens,  is  situated  on  the  audi- 
torium floor  at  the  center  of  the 
dome,  rising  slightly  above  yet  sur- 
rounded h\  the  audience.  This  pro- 
jector throws  its  huge  images  onto 
the  dome,  while  viewers  are  sur- 
rounded   h\    the   film.      The   audience. 

in  -eats  which  tilt  up  to  35  degrees, 

experience  the  sensation  of  soaring 
toward  the  moon,  over  it  and  then 
be)  "lid   it    into  outer  -pare. 

Spectators  see  the  formation  of 
galaxies  ami  stars  systems  through 
the  consolidation  of  gaseous  matter — 
the  prevailing  theory  of  how  all  life 
began.  I  hi-  -pace  journey,  on  an 
expanded  time  scale,  deal-  in  terms  of 
millions  of  light  wars  and  gives  il> 
audience  a  look  at  things  which  no 
man  of  our  era  will  ever  see  first- 
hand. 

Narrated  l>\  Hod  Selling,  the  film 
runs  15  minutes  and  was  produced 
bj  a  variety  of  methods.  About  half 
of  it  was  filmed  via  animation  tech- 
niques and  with  scale  models,  while 
the  other  portions  represent  live- 
action  photography.  Another  exciting 
segment  of  the  film  is  a  combination 
of  microphotograph)  and  the  special- 
ized production  of  optical  effects,  to 
depict  force  fields  and  nuclear  energ\. 
because  viewers  actually  experience 
the  sensation  of  entering  the  heart 
of  an  atom. 

Trans-Lux  Corp.  is  operating  the 
exhibit  for  Cinerama  during  the  two- 
year  run  of  the  Fair.  Graphic  Films 
of  Los  Angeles  did  the  actual  photo- 
graphy under  the  guidance  of  Cine- 
rama   producer   Jeremy    Lepard    and 


Tulsa  Installation 


Four  of  the  new  Super  Trouper  carbon 
arc  tallow  spotlights  developed  by  The 
Strong  Electric  Corporation,  Toledo, 
have  just  been  installed  in  the  audi- 
torium of  the  City  Assembly  Center, 
Tulsa,  Okla.  Shown  operating  one  of 
these  powerful  spotlights  is  Gene  W. 
Johnson. 

Fair  Operators  Will 
Be  Paid  $3  Million 

More  than  225  members  of  Opera- 
tor".- Local  300  of  the  1ATSE  em- 
plo\ed  by  exhibitors  at  the  World's 
Fair  will' he  paid  almost  $3,000,000, 
it  i>  announced  by  Harry  Garfman. 
Brooklyn  and  Oueens  business  repre- 
sentative of  the  union.  He  also  said 
an  additional  $400,000  will  be  paid 
into  the  union's  pension  and  welfare 
fund  during  the  run  of  the  Fair 
through   1(X)5. 

Contracts  call  for  a  total  of  84 
hours  between  10  a.m.  and  10  p.m. 
daily.  The  pay  scale  ranges  from  $6 
per  hour  for  8mm.  16mm.  and  35mm 
operation  to  $7  hourly  for  70mm 
operation.  Projectionists  work  five 
shifts  per  week,  six  hours  per  shift. 
Overtime  is  paid  at  time  and  a  half. 

A  15  per  cent  payment  is  given  to 
the  organization's  welfare  and  pen- 
sion fund,  and  vacations  are  set  at 
one  week  for  every  six-month  period 
of  employment.  Supervisory  projec- 
tionists come  under  a  special  classifi- 
cation and  receive  $7.50  per  hour  for 
8,  16  and  35mm,  and  $8.50  hourly 
for  70mm. 

executive  producer  Arthur  Finston. 
There  are  three  shows  an  hour  of 
"To  The  Moon  &  Beyond"  at  the  T  & 
T  Pavilion,  with  an  admission  charge 
of  75c  for  adults  and  25c  for 
children.  iP 


CARBON  ARCS   .       .   for  finest  Projection   .   .   .   Compact  Xenon  Arcs 


jHowiaUte  A*c  GanJxo+vi 


division 
Brighter  Light  on  Screen 

*  Longer  Burning  per  Carbon 

*  More  Economical  ...  / 


CARBONS,   INC. 


International  Projectionist  August,  1964 


i?mofT 


products 


rrjzoss  LAMPH0USES  •  X*rjzoss  POWER  SUPPLIES 

by  Cinemeccanica  by,  Christie 

BOONTON.   N.J. 


IATSE  Convention 


from  page  4 


convention  took  the  following  action: 

Put  LA.  on  record  as  favoring  el- 
imination of  the  remaining  Federal 
admissions  tax  of  10  per  cent  on 
prices  over  $1; 

Voted  support  of  a  bill  now  in 
Congress  which  would  require  film 
producers  to  label  their  films  made  or 
acquired  outside  the  U.S.  with  the 
country   of  origin; 

Voted  down  a  proposal  to  expand 
the  executive  board  by  the  addition 
of  two  vice  presidents,  one  of  whom 
would  represent  east  and  west  coast 
film  studios,  and  all  of  whom  would 
be  elected  by  regional  district  cau- 
cuses, instead  of  by  the  entire  IA 
convention,  as  at  present; 

Referred  a  resolution  opposing  the 
election  of  Sen.  Barry  Goldwater  as 
President  to  the  leadership  of  IA  for 
implementation  through  the  AFL-CIO 
Committee  on  Political  Education 
(COPE); 

Approved  action  against  student 
workers  at  universities'  stagings  of 
professional  shows; 

Passed  a  strong  resolution  asking 
the  IA  administration  to  study  the 
legality  of  the  individual  projection- 
ist's right  to  refuse  to  run  non-IA 
films. 

The  convention  adjourned  shortly 
after  the  conclusion  of  one  of  the 
most  dramatic  sessions  in  its  long 
history.  A  growing  campaign  to 
overturn  a  1963  videotape  agreement 
signed  by  Walsh  and  motion  picture- 
TV  studios  in  Hollywood,  by  six  Hol- 
lywood locals,  exploded  in  the  waning 
hours  of  the  convention  on  a  report 
by  the  Grievances  Committee,  chaired 
by  Vice  President  E.  J.  Miller,  which 
supported  Walsh's  aclion. 

The  complaining  unions  hit  the 
floor  for  one  hour  of  statement  stress- 
ing in  all  their  presentation  that 
Walsh  had  gone  beyond  the  authority 
of  the  Constitution  in  unilaterally 
signing  a  contract  without  involve- 
ment or  approval  by  the  interested 
locals. 

Opponents  of  the  president's  action 
included  John  W.  Leyners,  Film  Ed- 
itors; Herb  Aller,  Cameramen;  Don 
Haggerty,  Film  Technicians;  Hefry 
Villardo,  Makeup  Artists;  Clayton 
Thompson,  Scenic  Artists;  Russell 
Ashley,  Sound;  G.  Erickson,  Makeup 
Artists;  and  Ernest  Bachrakh,  Still 
Cameramen. 

Hollywood  spokesmen  stated  that 
the  Grievance  Committee  hearing  pre- 
ceding full  convention  consideration, 


which  disallowed  verbatim  transcript 
of  the  proceedings,  outlawed  addi- 
tional observers  beyond  five  from 
each  local,  and  foreshortened  state- 
ments by  interested  parties,  were  part 
of  improper  procedures.  Points  of 
order  were  raised  which  questioned 
conduct  of  the  hearing,  and  also 
asked  that  President  Walsh  relinquish 
the  chair  during  the  ensuing  debate. 

Lehners  referred  to  the  contract  as 
a  "secret  tape  deal,"  an  allegation 
which  Walsh  was  later  to  stoutly 
deny  in  his  30-minute  reply  to  the 
Hollywood  spokesmen.  "He  acted  in 
the  name  of  expediency,"  Lehners 
charged.  "We  do  not  question  his 
motives,  but  his  authority."  Walsh 
replied  by  reiterating  his  firm  belief 
in  local  autonomy,  which  he  stressed 
would  be  preserved.  Quoting  I.  A. 
bylaws  to  support  his  action  in  what 
he  characterized  a  special  situation 
requiring  the  direct  intervention  of 
the  LA.  president,  Walsh  cited  his 
22  years  of  service  to  the  Alliance 
and  asked  dramatically  whether  he 
had  ever  abused  his  authority  to  the 
detriment  of  the  Alliance?  Stoutly 
denying  that  he  had  signed  the  1963 
videotape  agreement  in  secret.  Walsh 
asked  the  convention  for  its  vote  of 
confidence  and  was  supported  by 
more  than  10  to  1. 

In  other  action  the  LA.  approved 
a  bylaw  which  strengthens  jurisdic- 
tional definitions,  and  arms  the  LA. 
for  future  possible  conflicts  over  jur- 
isdiction with  other  internationals. 
The  convention,  at  the  request  of 
President  Walsh,  retained  its  so-called 
"special  laws"  which  were  initially 
devised  eighteen  years  ago  to  root  out 
subversives  among  the  membership. 
Although  several  delegates  spoke 
against  that  portion  of  the  President's 
Report  which  sought  the  retention  of 
the  "special  law"  because  of  the  ap- 
parent stigma  which  it  implied,  the 
convention  heeded  Walsh's  request. 

In  closing  the  convention,  Walsh, 
speaking  directly  to  the  Hollywood 
locals  of  District  Two,  spoke  of  work- 
ing harmoniously  and  cooperatively 
with  them,  and  promised  to  work  out 
their  problems  amicably  and  in  the 
best  interests  of  the  LA.  His  final 
remarks  did  much  to  cool  down  the 
rancor  engendered  by  the  heated  de- 
bate which  had  transpired  earlier  in 
the  afternoon.  It  was  announced  that 
the  48th  Biennial  Convention  will  be 
held  in  1966  in  Detroit.  iP 


Geodesic  Dome 
For  Las  Vegas 
Cinerama   House 

The  world's  first  "stressed-skin" 
aluminum  dome  designed  for  a 
motion  picture  theatre  will  soon  be 
built  in  Las  Vegas,  Nev.,  according  to 
Cinerama  President  William  R.  For- 
man. 

The  Mahon  geodesic  dome  was 
developed  by  the  western  division  of 
the  R.  C.  Mahon  Company,  steel  and 
aluminum  fabricators,  in  Terrance, 
California.  The  company  will  start 
construction  of  a  1000-seat  theatre 
for  exhibitor  Harry  Nace  later  this 
month. 

Predicting  that  Mahon  Dome  will 
be  "the  shape  of  things  to  come," 
Forman  said  that  the  geodesic  struc- 
ture is  the  most  practical  form  of 
exhibition  for  Cinerama.  A  partial 
sphere  offering  a  self-supporting 
building  with  maximum  column-free 
floor  space,  it  affords  an  unlimited 
versatility  potential  for  attractive 
interiors.  The  new  engineering  prin- 
ciple of  a  sphere  within  a  sphere 
offers  an  interior  acoustical  dome 
which  also  supports  fixtures  and 
fireproofing. 

Forman  pointed  out  further  that 
its  unique  safety  factors  give  the 
dome  a  considerable  edge  over  the 
conventional  theatre.  Its  light  weight 
construction  and  resiliency  reduce 
earthquake  inertia  loads  on  supports, 
preventing  collapse  or  shattering.  Its 
spherical  shape  and  high  tensile 
strength  make  it  resistant  to  hurri- 
cane winds  of  over  125  miles  per 
hour.  Its  redundant  construction 
gives  it  greater  fire  resistance;  a 
large  portion  of  the  dome  could  be 
destroyed  without  total  collapse.  It 
is  designed  for  40  pounds  per  square 
foot  loading  making  it  impervious  to 
snow  as  deep  as  four  feet. 

The  weight  of  the  entire  structure 
is  one-thirtieth  of  the  only  other 
Cinerama  dome  in  existence,  a  pre- 
cast concrete  structure  at  the  corner 
of  Sunset  and  Ivar  in  Hollywood. 

"We  envision  many  of  these  Mahon 
Dome  Cinerama  theatres,"  said  For- 
man. "Supporting  its  own  weight 
without  space-wasting,  vision-inhibit- 
ing pillar  or  suspensions,  it  is  the 
ultimate  in  design  and  beauty  for 
Cinerama,  and  is  one  of  the  most 
economical  buildings  in  motion  pic- 
ture history." 

Perry  Neuschatz,  AIA  Architect, 
designed  the  projected  Las  Vegas 
structure  for  Nace.  It  will  be  con- 
tracted by  the  E.  L.  Parmer  Construc- 
tion Company   of  Phoenix,  Arizona. 

iP 


10 


International  Projectionist  August,  1964 


The  Cover  Story  .  .  . 

Ashcraft  Scores  with  New  Core-Lite  Lamps 

The  installation  of  Ashcraft  Core-lite  lamps  with  existing  Norelco  70mm 
projectors  has  resulted  in  improved  qualit)  and  cost  reduction  at  Fox  Inter- 
Mountain's  Alladin  Theatre  in   Denver.  

The  Fox  Alladin  is  a  combination 
hard  ticket  and  show  case  run.  and 
has  been  one  of  Denver's  top  outlets 
for  70mm  runs  for  several  years. 
The  theatre  is  equipped  with  Philips 
Norelco)  projectors.  Before  the 
recent  Core-Lite  installation  used 
F:2.0  condenser  type  high  intensity 
arc  lamps  burning  [3.6mm  \  22-inch 
positive  and  '  '■>  x  9-inch  negative 
carbons  at   16U  amperes. 

The  decision  to  install  Ashcraft 
Core-lite  lamps  was  made  after  com- 
parative tests  were  run  in  the  theatre. 
The  Core-lite  arc  lamps  were  burned 
at  100  L05  amperes  using  I lmm  \ 
17'^-inch  high-intensit)  positive,  and 
11  32  x  0-inch  negative  carbons. 
Center  screen  lighting  increased  12 
per  cent,  and  screen  side  lighting  in- 
•  leased  II  per  cent.  This  increase 
in  overall  screen  lighting  is  even 
more  significant  when  the  size  <>l  On- 
screen is  taken  into  consideration. 
Both  70mm  and  CinemaScope  pro- 
jected pictures  are  in  excess  of  50 
feet   in    width. 

\lter  30  da\s.  operation  with  the 
Core-lite  lamps.  Joe  Stone,  who  super- 
vised the  installation  for  National 
Theatre  Supplv   Co's.   Denver  Branch. 


America's 
headquarters 

lor  all 
theatre  equipment 


supplies 


National 

THEATRE  SUPPLY  COMPANY 


International  Projectionist 


came  up  with  a  compilation  of  sav- 
ings in  the  cost  of  operating  the 
Core-lite  lamps.  The  savings  in  cost 
of  carbons  and  current  is  in  excess  of 
$900.00  per  year — enough  to  enable 
the  Core-lite  lamps  to  "'pay  for  them- 
selves" in  less  than  four  years  of 
operation.  Such  savings  were  good 
news  to  Mel  Glatz.  Fox  Inter-Moun- 
tain purchasing  agent,  who  was 
alreadv  happy  with  the  improvement 
in  screen  lighting. 

New   S.O.S.    Printer 
Features  Improvements 

Alan  C.  Macauley,  President  of 
S.O.S.  Photo-Cine-Optics,  Inc..  re- 
cently announced  the  development  of 
a  new    Model   B  TEL-Amatic   Printer. 

The  new  devise  is  an  improved 
continuous  contact  sound  and  picture 
printer  for  double  8mm  and  16mm 
films,  having  been  equipped  with  a 
semi-automatic  21-scene  light  change 
which  assures  perfect  exposure.  In 
addition,  feed  and  take-up  shoes  now 
replace  the  pad  rollers.  Many  more 
features  never  before  achieved  in  the 
low  cost  professional  printer  field  are 
described  in  a  folder  available  from 
S.O.S..  387  Park  Avenue  South.  New 
York,  Y  Y.  L0016;  or  6331  Holly- 
wood Blvd.  Hollywood,  Calif..  00028. 
lamp,  when  used  with  70mm  pro- 
jectors, is  that  no  intermediate  opti- 
cal elements  or  changes  in  lamphouse 
positioning  is  necessary  when  chang- 
ing from  70mm  to  35mm  projection. 

National  General 
Opens  $350,000  House 

A  gala  opening  night  July  15 
marked  the  opening  of  the  new 
$350,000  Fox  Theatre  in  Orange 
County,   Calif. 

The  838-seat  deluxe  showcase  is 
located  in  the  Bossmoor  Shopping 
Center.  It  is  the  latest  addition  to 
National  General  Corp's.  Fox  West 
Coast   operation. 

The  opening  also  provided  an  op- 
portunity for  scholarship  fund-raising 
activities  by  the  Rossmoor  Women's 
Club. 

According  to  National  General 
Corp.  president  and  chairman  Eugene 
V.  Klein,  the  theatre  is  part  of  plans 
to  extend  the  company's  Western  and 
Mid-western  operations,  which  now 
encompass  217  conventional  and 
drive-in  theatres  in  16  states.  iP 

August.  1964 


Get  all  the  facts!  Ask  your  equip- 
ment dealer  for  the  new  1964 
Kollmorgen  Projection  Lens  Cata- 
log or  write  us  direct. 

kTkollmorgem 

CORPORATION 

NORTHAMPTON.   MASSACHUSETTS 


11 


Autoscope  System  Diagram 

.2.60 


HOW  IT'S  DONE  WITH  MIRRORS  (260  of  them)  in  the  central  projection   building. 


24 


In  response  ta  many  reader  inquiries,  the  illustration  above  depicts  the  operation 
of  the  novel  Autoscope  drive-in  theatre  projection  system.  David  Hamrah's 
article  describing  this  unique  method  was  reprinted  in  the  July,  1964  IP  from 
the  original  story  in  the  I.A.T.S.E.  Bulletin. 


Trans-Lux  Names 
Linn  to  Washington 

Byron  R.  Linn  has  been  appointed 
director  of  Trans-Lux  theatre  opera- 
tions for  Washington,  D.  C,  it  was 
announced  by  Thomas  E.  Rodgers, 
vice  president  in  charge  of  theatres 
for  Trans-Lux  Corporation.  Linn  was 
formerly  vice  president,  film  buyer 
and  booker  for  the  Comerford 
Theatre   Circuit. 

He  will  handle  the  activities  of 
three  Washington  theatres,  the  Trans- 
Lux,  the  Trans-Lux  Plaza  and  the 
Trans-Lux  Playhouse,  the  latter  to 
serve  as  his  headquarters. 

Bollantyne  Sales  Mount 

First-half  sales  of  Ballantyne  In- 
struments and  Electronics,  Inc.,  divi- 

12 


sion  of  ABC  Consolidated,  are  109% 
ahead  of  a  year  ago.  Profits  in  the 
first  six  months  exceeded  all  1963.  iP 


Stiff-el  Named  To 
SMPTE  Staff 

Joseph  R.  Stiftel  has  been  appoint- 
ed assistant  staff  engineer  for  the 
Society  of  Motion  Picture  and  Tele- 
vision Engineers  ( SMPTE ) .  In  this 
position,  Mr.  Stiftel  will  be  primarily 
responsible  for  augmented  quality- 
control  procedures  in  the  SMPTE 
test  film  program.  He  also  will  assist 
in  the  development  of  new  test  films. 

For  three  years  prior  to  his  ap- 
pointment to  the  SMPTE  headquar- 
ters staff,  Mr.  Stiftel  worked  in  the 
Thin  Film  Solid  State  Electronics 
Program  at  General  Telephone  and 
Electronic  Laboratories.  At  General 
Telephone  he  was  directly  involved  in 
the  research  and  development  of  a 
solid-state    television    display    panel. 

iP 


Projectionists 

who  like  quality 

always  use  the  best 


Star 

Film    Cement 

Sold  by  Supply  Dealers 

Send  for  FREE  Sample 

ACE  CHEMICAL  CO. 

■  (Division  of  the 

Ace    Electric    Mfg.    Co.) 

1923    Bay    Road 

Miami  Beach,  Florida 


THE  VERY  FINEST  PROJECTOR  PARTS 


ARE   MADE   BY 


There's  nothing  like  them  for  pre- 
cision manufacture,  close  inspec- 
tion, efficiency  in  operation,  depend- 
ability and  long  life.  Obtainable  from 
your  Theatre  Supply  Dealer. 


SINCE    1908 


MACHINE   WORKS 

4635  W.  LAKE  ST.,  CHICAGO  44,  ILL. 
TELEPHONE— AREA  312— ES  8-163G 


International  Projectionist 


August.  1964 


Battery-Powered 
Projector  Marketed 
By  Viewlex,  Inc. 

A  batter)  powered  filmstrip  slide 
projector  designed  l«>  be  used  inde- 
pendent!) of  an)  outside  power 
source  was  announced  l>\  Viewlex 
i  \\ll.\>  of  Holbrook,  Long  Island. 
\.  V. 

Light  enough  to  l>e  carried  easily, 
il  e  unit  is  enclosed  in  its  own  sturd) 
Bispatch    type    carrying    case    which 


F.  Lachman 
Dead  at  56 


Viewlex,  Inc.  has  announced  a  new 
lightweight  portable  filmstrip  and  slide 
projector,  shown  above.  The  unit  is 
self-storing  and  will  operate  on  stand- 
ard 110  VAC,  or  any  6  VDC  source, 
including  its  own  rechargeable  battery. 

serves  as  a  projection  screen  as  well. 
The  Viewlex  Batter)  Powered  Film- 
strip  Slide  Projector  can  he  set  up  in 
Beconds  and  used  anywhere.  The  unit 
can  also  be  operated  from  an)  stan- 
dard power  outlet,  including  a  car 
batters . 

Designed  initialh  For  use  l>\  tin- 
Peace  Corps  in  areas  where  electrical 
power  was  not  readily  available. 
the  Viewlex  Battery  Powered  Film- 
strip  Slide  Projector  proved  to  be  an 
invaluable  teaching  tool. 

The  View  le .  Batten  Powered 
Filmstrip  Slide  Projector,  which  as 
its  name  applies  can  be  used  either 
with  filmstrips  or  conventional  color 
slides,  receives  its  energy  from  a 
6-volt  wet  cell  Viewvolt  spill-proof 
battery.  A  recharger  also  built  in  will 
rejuvenate  the  batters  in  12  hours  or 
less.  The  Viewvolt  battery  can  be 
recharged  at  least  500  times.  Each 
charge  is  good  for  a  full  hour's 
projection. 

The  Projector  can  be  used  with  a 
variety  of  lamps  and  lenses,  from 
"small-screen"  projections  to  "long 
throws"  filling  large  conventional 
screens.  Size  of  the  unit,  encased,  is 
17  x  17  x  5-inches.  Its  weight  is  25 
pounds.  The  complete  unit,  ready  for 
use.  ee!!s  for  under  $150. 

International  Projectionist  August.  1964 


Edward  Lachman,  president  of 
Carbons,  Inc.,  Boonton,  N.  J.,  died 
during  his  attendance  of  the  conven- 
tion of  the  \llied  Theatre  Owners  of 
New  Jersey,  at  the  Concord  Hotel 
Kiamesha  I  ake,  N.  Y.,  \ug.  1.  at  the 
age  of  56. 

To  projectionists,  exhibitors,  deal- 
ers and  others  in  the  trade  as  well  as 
the  trade  press.  Ed  was  the  epitome  of 
warmth,  friendliness  and  enthusiasm 
in  his  business  as  well  as  in  his 
social  acti\  ities. 

I  rider  his  leadership  and  guidance 
Carbons,  Inc.,  enjoyed  considerable 
growth   with  the   recent  establishment 

of    the     XeTRON     division,     which 

distributed  motion  picture  sound 
equipment  and  power  supplies.  His 
plans    for    a     well-rounded    expanded 

organization   began  to  take   Form  as 

he  added  to  his  starf  several  well 
known  engineering  and  executive 
people  in  the  industn  and  embarked 
on   a   program    of   sizeable   expansion 


Mr.  Edward  Lachman 

for  XeTRON  and  Lorraine  Carbons. 

Mr.  Lachman  started  in  the  busi- 
ness in  Chester.  Pa.,  where  his  father 
had  a  theatre.  He  was  once  asso- 
ciated in  exhibition  with  Wilbur 
Snaper  in  New  Jersey.  At  the  time  of 
his  death  he  owned  the  Stale  Theatre, 
Boonton.  N.  J. 

Surviving  Ed  are  bis  wife  Rosa- 
bella, his  elder  son,  Edward.  Jr.  and 
twin  sons  \Ya\ne  and  Robert. 


13 


Execs  Ink  Theatrofilm  Pact 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Mot-ion    Picture   Equipment-   Division 
100    E.  42nd   St.,    New  York    17,   N.Y. 


Benj.  Kalmenson  (seated),  executive  vice-president  of  Warner  Bros.,  signs 
Theatrofilm  distribution  pact  as  (L.  to  R.)  William  Sargent,  Alfred  W.  Crown 
and  Morey  (Razz)  Goldstein  look  on.  Sargent  is  president  and  Crown  is 
executive  vice-president  of  Electronovision  Productions,  Inc.,  developers  of 
Electronovision  Productions,  Inc.,  developers  of  Theatrofilm.  Goldstein  is  vice- 
president  and  general  sales  manager  of  Warner  Bros.  (See  story  on  page  8). 


G  &  G  Theatres 
Takes  Over  Strand 


Better 
Light! 


RINGSDORFF  CARBON  CORP.    East  McKeespo<t.  Pa 


The  Strand  Theatre,  Milwaukee's 
leading  hard  -  ticket  house,  was 
acquired  this  week  by  G.  &  G.  Theatre 
Corp.,  New  York.  G.  &  G.  is  owned 
by  Herbert  L.  Golden  and  Leonard  S. 
Gruenberg. 

Gruenberg  was  formerly  Eastern 
Diyision  Manager  for  RKO  Pictures, 
and  subsequently  Vice-President  of 
NTA.  Golden,  now  in  the  investment 
and  the  finance  business,  was 
formerly  Vice-President  of  Bankers 
Trust  Company  and  United  Artists 
Corporation. 

The  850-seat  Strand  Theatre,  was 
formerly  operated  by  Joseph  Seiter's 
Prudential  chain.  The  Strand  recentJ 
ly  closed  after  a  lengthy  run  of 
"Cleopatra."  It  has  played  such  road 
show  film  attractions  as  "Ben  Hur,1" 
"Lawrence  of  Arabia,"  "West  j  Side 
Story,"  "South  Paciiic,"'  "Okla- 
homa!", "Exodus"  and  "Mutiny  on 
the  Bounty." 

The  theatre  is  being,  managed  for 
G.  &  G.  by  Jerry  Gruenberg,  who 
formerly  headed  the  Prudential  and 
Joseph  Gran  theatres  in  the  Milwau- 
kee area. 


14 


There's   Plenty   for   You   At 

CENTURY! 

.  .  .  and  from  CENTURY  only 


dramatic,  New  ALL  TRANSISTOR 
sound  systems 


"True  high-fidelity, 

distortion  free. 
''Low  installation  cost, 

minimum  space  needs. 


'Increased   reliability, 
less  maintenance. 

:No  vacuum  tubes,  no 
photoelectric  cells. 


*and  the  only  American-made  70  mm  35 
theatre  projection  systems 


SEE 

YOUR  CENTURY 

DEALER 


.  .  .  for  ibigger,  brighter  projection. 

\  I 

CENTURY  PROJECTOR  CORP. 


New  York  19,  N.  Y. 


International  Projectionist 


August.  1964 


Investment  Opportunity 


The  tools  this  young  apprentice  is  learning  to  make  will 
one  day  be  used  to  turn  out  your  company's  products. 

A  great  investment  in  time,  money,  effort  and  faith 
will  have  to  go  into  making  him  productive.  Every  one 
of  us  has  a  stake  in  his  success — and  every  one  of  us 
must  invest  something — for  on  the  developing  skills  of 
America's  young  tool-makers  depends  the  continued 
functioning  of  all  industries. 

You  can  protect  your  investment  by  joining  with  other 
leading  American  businessmen  to  promote  the  Treas- 
ury's Payroll  Savings  Plan  for  U.S.  Savings  Bonds.  The 
Treasury  Department's  Plan  helps  safeguard  the  individ- 


ual liberties,  and  encourages  the  industrious  and  respon- 
sible attitudes  so  necessary  for  the  growth  of  our  econ- 
omy and  the  well-being  of  our  society. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll — 
you  are  investing  in  the  next  generation  of  America's 
skilled  craftsmen  and  technicians.  You  are  investing  in 
our  future.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  to  the 
Treasury  Department,  United  States  Savings  Bonds 
Division,  Washington,  D.C.,  20226. 


in  your  plant. ..promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS     W^m 

The  U.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism,  The  Advertising  Council  and  this  magazine. 


&Z&. 


bbbl    mm 

There  is  only  §£§  H 
To  Light  the 
INDOOR  THEATRES! 

The     -> 


Projection  Lamp 
Screens! 


M/Vf-M  THEATRES! 


—  ■— 


The  Ultimate  in  Projection  Lamps! 
Engineered  for  the  Projectionist ! 

OPTICALLY A!  MECHANICALLY 
PERFECTED  TO  PROJECT  1  MOST 
BRILLIANT  PICTURE  POSSIBLE!  / 

THE  SUPER  CORE-LITE  PROJECTS: 

MAXIMUM  LIGHT -MAXIMUM 
LIGHT  DISTRIBUTION! 

THE  RESULTS  OH  THE  SCREEN: 

PERFECT  FOCUS  •  PERFECT  DEFINITION  •  PERFECT 
RESOLUTION  •  PERFECT  WHITE  LIGHT  PRODUCES 
TRUE  COLOR  REPRODUCTION! 


-;< 


C.  S.  ASHCRAFT  MANUFACTURING  CO.,  INC. 

36-32  THIRTY-EIGHTH  STREET,  LONG  ISLAND  CITY  1,  NEW  YORK 


SOLD  EVERYWHERE  IN  THE  UNITED  STATES  BY  LEADING  AUTHORIZED  THEATRE  SUPPLY  DEALERS 


INTERNATIONAL 


Here's  a  helicopter  view  of  the  Kodak 
Pavilion  at  the  New  York  World's  Fair. 
Its  400-foot  long  sloping  surface  matches  a 
lunar  landscape.  Five  30-by-36  foot  color 
prints  ring  the  80-foot  picture  tower,  and 
can  be  seen  for  miles  by  day  and  night. 
(See  story  on  page    16). 


6 


OCT  261964 
Cont  Copy 


SEPTEMBER 
VOLUME  39 
40c  A  COPY 


1964 

NUMBER  9 

$3.00  A  YEAR 


See  SMPTE  Technical  Exhibit  Directory  on  Page  8 


The 


ea 


KtiU  New 


The 


PROJECTION  ARC  LAMP 


A  Product  of 

^*0£  Electric  Corporation 

31  City  Park  Avenue    •    Toledo,  Ohio  43601 
Phone:  (419)  248-3741 

Brochure  on   request 


WIDER  USE 


Matches  the  optical  requirements  of  all  35mm 
and  70mm  projectors.  A  single  knob  allows 
instant  change  between  film  widths.  A  cali- 
brated scale  with  reference  pointer  facilitates 
precise  reset  of  burner  focus  ...  a  Strong 
exclusive. 


GREATER  CONVENIENCE 


Unit  construction  permits  instant  removal  of 
components  for  cleaning  and  inspection.  25% 
lower  silhouette  permits  easy  installation  in 
low-ceiling  projection   rooms. 


The   FUTURA  II 

with  automatic  crater  positioner  for  13.6mm 
carbon  trim  burning  at  120  to  160  amperes, 
or  for  11mm  carbon  trim  burning  at  100  to 
125  amperes. 


MORE    LIGHT 


for   all    indoor  theatre    screens    up   to    65  feet 
and  drive-in  screens  up  to  120  feet. 


LESS    COST 


to  buy  and  less  to  use.  Efficient  utilization 
of  standard  20-inch  carbons  insures  THE 
GREATEST  AMOUNT  OF  LIGHT  EVER  DE- 
LIVERED PER  CARBON  DOLLAR.  Permits 
projection  of  an  extra  reel  per  carbon. 


The   FUTURA  I 

for  utmost  economy  in  operation  with  stand- 
ard 11mm  carbon  trim  burning  at  75  to  105 
amperes. 


MORE    FEATURES 


New  type  relocated  arc  imager  system  elimi- 
nates parallax.  Big  18-inch  first  surface  Strong 
Tufcold  reflectors  used  in  lamps  operating 
above  95  amperes  assure  lower  aperture 
temperatures.  Silvered  reflectors  used  in 
lamps  burning  under  95  amperes.  Stream- 
lined ammeter  for  reading  arc  current.  Auto- 
matic trimming  light.  Inside  dowser  system. 


INTERNATIONAL 

PROJECTIONIST 


MONTHLY  CHAT 


►**w********v*%wv*<v**v 


Volume  39         September  1964  No.  9 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAL   GALLO   ASSOCIATES 

National    Advertising    Representatives 

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IN  THIS  ISSUE 

Xenon    Projection    Lamps  4 

SMPTE  Exhibit  Directory  8 

Heyer-Schultz  Reminisces  14 

Tri-State's  Golden  Anniversary     15 

The  Cover  Story 

Giant  Kodak  Prints  for  Fair         16 

Ashcraft  Lamps  Debut  in  St.  Louis      17 

News    Notes  —  Technical    Hints  —  Miscellaneous    Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
International  Projectionist  Publishing  Co.  division  of  The 
Northern  Publishing  Co.,  Post  Office  Box  6174,  Minneapo'is 
Minnesota  55424.  Editorial  offices,  1645  Hennepin  Avenue, 
Minneapolis,  Minn.  55403.  Subscription  Representatives:  AUS- 
TRALIA —  McGills,  183  Elizabeth  St.,  Melbourne;  NEW 
ZEALAND  —  Wixon's,  Ltd.,  64  Courtnay  Place,  Wellington; 
ENGLAND  and  ELSEWHERE  —  Wm.  Dawson  &  Sons,  Ltd., 
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be  submitted  four  weeks  in  advance  of  publication  date  to 
insure  receipt  of  current  issue.  Second-class  postage  paid  at 
Minneapolis,  Minn.  INTERNATIONAL  PROJECTIONIST  as- 
sumes no  responsibility  for  personal  opinions  appearing  in 
signed  articles,  or  for  unsolicited  articles.  Entire  contents 
copyrighted  1964  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 


The  exhibitor  owners  meet  this  fall. 

The  Theatre  Owners  of  America  annual  convention 
first.  September  28,  29,  30,  October  1.  The  meet  in  Chi- 
cago, Conrad  Hilton  Hotel. 

The  TOA  is  the  17th  annual  convention.  National  As- 
sociation of  Concessionaires  will  trade  show. 

Allied  States  Association  of  Motion  Pictures  Ex- 
hibitor, October  19,  20,  21,  22.  The  equipment  manu- 
facturers hold  the  trade  show.  The  Allied  35th  annual 
convention. 

Its  TOA  and  Allied  members  will  be  well  advised 
to  attend.  For  these  are  times  when  no  theatreman  can 
afford  to  miss  the  opportunity  to  get  into  first-hand 
contact  with  fellow  theatremen  for  the  discussion  of 
mutual  problems  and  swapping  ideas,  as  well  as  for 
cn-the-ground  participation  in  discussions  and  formu- 
lation of  programs  of  action  which  are  the  business  oi 
these  annual  get-togethers. 

The  projectionists  urged  to  attend,  particular  at 
the  Allied  equipment  manufacturers  and  the  dealers 
here  at  the  trade  show.  They  will  have  the  opportunity 
of  looking  at  the  latest  in  theatre  equipment  for 
four-wall  houses  and  drive-ins. 

The  aroused  interest  in  projection  and  sound  tech- 
niques may  stimulate  more  concentration  by  exhibitors 
on  the  important  details  of  equipment  for  screen  pre- 
sentation. 


International  Projectionist     September,  1964 


and  Television  Engineers 


Atttention  to  that  detail  definitely  seems  to  belong 
on  the  agenda  of  these  exhibitor  conclaves.  None  of 
the  exhibitor  leaders  and  none  of  their  organization's 
membership  that  all  theatres  are  giving  the  public  the 
kind  of  screen  presentation  (from  the  technical  stand- 
point). Thoroughly  efficient  management  should  proved. 

Because  plant  improvements  beget  their  kind.  And 
newer  accessories  in  the  department  of  projection  and 
sound  stimulate  theatre  attention  to  other  phases  of 
the  theatre — including  seating,  decoration  and  better 
housekeeping  around  the  lobby,  foyer  and  rest  rooms 
as  well  as  the  auditorium. 

The  conditions  of  exhibitor  should  be  intensely 
concerned  with  the  vital  matter  of  film  supply  and 
rental  cost.  They  chooses  to  back  and  forth  between 
exhibitor  and  distribution.  The  way  is  life  for  the 
motion   picture   industry   . 

The  national  exhibitor  conventions,  for  the  long 
years,  they  lacked  entirely  one  important  ingredient. 
This  is  organized  discussion  of  the  way  and  means 
cf  pleasing  the  customer  better  and  thus  getting  more 
customers  of  the  individual  theatre.  iJP 

3 


H 


INTERNATIONAL   PROJECTIONIST 


*'-■*  —  « *     ■ . . —-_—___  - — „... -.,  ■-^— 

Volume  39  September,   1964 


Number  9 


A  Resume  .  .  . 


Xenon  Projection  Lamps 


By   Don  V.   Kloepfel 

(Reprinted  from  the  Journal  of  SMPTE,  June,  1964) 


The  motion-picture  industry  has  depended  primarily 
upon  two  sources  of  light  for  projection  purposes — the 
incandescent  lamp  and  the  carbon  arc,  each  of  which  has 
certain  disadvantages. 

The  incandescent  lamp  has  an  adequate  life  span, 
consistent  with  its  cost.  It  is  easily  replaced  and  aligned, 
and  it  uses  alternating  current,  which  is  universally 
available.  A  major  disadvantage,  other  than  limited  out- 
put, is  the  color  of  the  light  it  emits.  Across  the  visible 
spectrum,  incandescent  light  is  deficient  in  the  short  or 
"blue"  wavelengths,  and  the  amplitude  of  the  longer 
or  "red"  wavelengths  is  high.  The  result  is  a  yellow  light, 
rather  than  pure  white  light,  which  is  desirable  because 
it  more  closely  resembles  average  daylight  (Fig.  1). 

The  carbon  arc  overcomes  these  difficulties.  The  light 
emitted  is  blue-white,  approaching  the  color  of  daylight 
(Fig.  1).  Also,  it  is  the  most  powerful  source  of  arti- 
ficial light  known,  therefore  the  size  of  motion-picture 
screens  under  carbon  arc  illumination  can  be  determined 
more  by  such  factors  as  heat  dissipation,  optical  design, 
and  motion-picture  film  properties  than  by  the  limits 
of  carbon-arc  brightness. 

A  disadvantage  is  that  carbon  arcs  must  be  vented 
because  the  carbon  and  core  materials  decompose,  form- 
ing gas  and  ashes.  Also,  they  require  elaborate  feed 
mechanisms  to  keep  the  positive  crater  properly  posi- 
tioned in  relation  to  the  optical  system  to  prevent  screen 
illumination  changs  in  color,  brightness  and  distribution. 
Current  changes  also  affect  the  color  of  the  light. 

The  xenon  high-pressure  projection  lamp  emits  light 
that  is  essentially  flat  across  the  visible  spectrum  (Fig.  1) . 

Other  distinctive  characteristics  under  typical  opera- 
tion in  laboratory  and  studio  review  rooms  are  described 
below. 


The  warranted  life  of  a  typical  xenon  high-pressure 
lamp  is  1500  hr.  This  warranty  can  be  given  only  if 
auxiliary  equipment  meets  the  requirements  established 
by  the  manufacturer.  The  rated  life  is  based  on  an  off- 
cycle  of  20  min,  such  as  would  be  the  case  in  most  the- 
aters. Film  roll  sizes  in  studio  and  laboratory  review 
rooms  are  quite  likely  to  be  small.  If  the  lamps  were 
extinguished  at  the  end  of  each  roll,  the  on-off  cycle 
would  be  increased.  Damage  to  the  lamps  would  result, 
due  to  the  increased  number  of  ignitions.  One  report 
stated  that,  when  on-off  operation  was  abandoned  and 
the  lamps  left  burning  continuouosly  for  a  13-hr.  period 
each  day,  lamp  life  increased  from  an  average  of  750 
hr.  to  over  1800  hr. 

Xenon  lamps  require  a  direct-current  power  supplv 
with  a  no-load  voltage  of  at  least  72v  and  an  a-c  ripple 
content  of  less  than  17%.  Practical  operation  has  indi- 
cated that  useful  life  will  be  further  increased  with 
ripple  lower  than  that  figure.  In  fact,  most  well-regulated 
power  supplies  have  far  lass  ripple;  in  some  cases 
less  than  1%.  Several  manufacturers  have  designed 
power  supplies  for  xenon  lamps  that  meet  these  re- 
quirements. They  have  included  relays  to  provide  220-v 
d-c  for  the  igniter  and  also  some  means  of  increasing 
the  d-c  current  while  the  lamp  blackens  due  to  decompo- 
sition of  the  tungsten  electrodes. 

Sixty  percent  of  the  installations  surveyed  included 
rectifiers  designed  for  xenon  service.  Forty  per  cent  had 
modified  existing  rectifiers  and  generators  by  adding 
ballast  resistors  and,  in  some  cases,  increased  filtering. 

The  xenon  arc  appears  to  be  inherantly  unstable 
during  the  first  few  minutes  of  operation  after  ignition. 
Flicker  was  reported  during  that  period  in  every  instal- 
lation reached  by  the  survey.    After  a  short  time,  the 

International  Projectionist     September,  1964 


BLue  cyx*/  GRseh 


YELLOW  Ofi/\N6e 


flicker  disappears  and  the  arc  is 
completely  steady  during  the  rest 
of  the  burning  period.  One  possible 
explanation  is  that  the  high  ignition 
voltage  produces  minute  irregulari- 
ties on  the  surface  of  the  cathode. 
As  the  cathode  heats  up,  these  bub- 
bles smooth  out.  The  problem  is  not 
considered  to  be  serious  as  it  is 
usually  possible  to  pre-heat  the  arc 
before  screenings.  This  is  good  prac- 
tice with  the  carbon  arc  as  well. 

Because  the  xenon  arc  lamp  radi- 
ates its  light  in  all  directions,  an 
auxiliary  mirror  is  placed  in  front  to 
reflect  light  radiated  in  a  forward 
direction  back  to  the  main  mirror. 
The  superimposition  of  this  real  but 
reversed  image  of  the  arc  requires 
extremely  careful  adjustment  if  dis- 
tribution on  the  screen  is  to  be  uni- 
form. Further,  the  discharge  between 
the  electrodes  is  bell-shaped.  If  the 
major  portion  of  the  arc  is  to  be 
utilized,  some  optical  rectification  is 
necessary  for  good  screen  distribu- 
tion. One  such  optical  rectifier  or 
corrector  is  the  Zeiss-Ikon  Honey- 
comb lens.  A  single  element  cor- 
rective lens  designed  to  spread  the 
light  evenly  across  the  aperture  is 
also  used.  That  these  devices  are 
practical  is  evidenced  by  reports  of 
up  to  90%  side-to-side  screen  light 
distribution,  compared  to  the  center 
of  the  screen. 

It  was  discovered  in  the  first  the- 


7S-Q 


ater  installations  of  xenon  lamps  thyt 
the  violent  igniter  discharge  caused 
a  brief  cracking  in  the  sound  system. 
To  overcome  this  both  lamps  weu 
ignited  before  the  performance  and 
the  "off"  lamp  current  was  decreas- 
ed. Such  operation  ended  the  sound 
problem  without  materially  affect- 
ing the  life  of  the  lamps.  Shortly  be- 
fore the  changeover,  the  current  was 
increased  to  normal  and  the  change 
from  one  projector  to  another  ef- 
fected without  a  noticeable  change  in 
screen  brightness.  Later,  a  relay  was 
inserted  in  the  igniter  circuit  which 
shorted  the  amplifier  input,  inter- 
rupting the  sound  for  about  0.1  sec. 
during  ignition.  A  sound  interrup- 
tion cannot  be  tolerated  in  a  review 
room.  Films  being  viewed  are  sub- 
ject to  very  critical  visual  and  aural 
examination.  A  recorded  foreign 
noise,  a  poorly  looped  splice  or  a 
projector  sound  system  defect  will 
in  most  cases  prompt  intensive  in- 
vestigation. Most  of  the  installations 
surveyed  reported  igniter  noise  prob- 
lems. Of  course,  if  both  lamps  are 
left  on  during  the  entire  perform- 
ance, there  is  no  problem.  A  more 
sophisticated  approach  might  be  to 
investigate  the  effectiveness  of  im- 
proved shielding  around  the  first 
stage  of  the  preamplifiers,  the  addi- 
tion of  a  suitable  low-pass  filter  in 
the  first  stage  grid,  or  a  small  r-f 
(Please  turn  to  page  6) 


Get  all  the  facts!  Ask  your  equip- 
ment dealer  for  the  new  1964 
Kollmorgen  Projection  Lens  Cata- 
log or  write  us  direct. 


KOLLMORHEN 

CORPORATION' 

NORTHAMPTON.  MASSACHUSETTS 


International  Projectionist     September,  1964 


lZi^velnc^!S!   Xenon  Projection  Lamps 


M.  M.  Rand  has  been  named  direc- 
tor of  marketing  for  the  Carbon 
Products  Division  of  Union  Carbide 
Corporation.  Succeeding  him  as  mar- 
ie e  t  i  n  g  manager 
for  electrode  and 
metallurgical  prod- 
ucts is  Robert  D. 
Kennedy. 

Rand  joined 
Union  Carbide  in 
19  4  8  following 
graduation  from 
Michigan  State 
University  with  a 
B.  S.  degree  in 
M.  Kand  chemical  engineer- 
ing. After  serving  in  the  production 
and  development  departments,  he 
joined  the  electrode  products  market- 
ing group  in  1954,  and  since  Janu- 
ary, 1962,  has  been  marketing  man- 
ager for  electrode  and  metallurical 
products. 

Kennedy  was  graduated  from  Cor- 
nell University  in  1954  with  a  B.  S. 


The  true  average  temperature  of 
the  xenon  arc  is  rated  at  9000K,  while 
the  plasma  ball  Kelvin  temperature 
is  even  higher.  The  color  temperature 
measured  at  the  center  of  the  arc  is 


degree  in  mechanical  engineering, 
and  joined  Union  Carbide  in  1955. 
Following  assignments  as  a  field 
sales  engineer,  he  was  project  engi- 
neer on  mechanical  products  from 
1959  until  196',  when  he  was  named 
division  sales  manager  for  electrical 
and  mechanical  products  in  Chicago. 
Since  June,  1963,  he  has  served  as 
product  manager  for  electrical  and 
mechanical  products  in  New  York, 
rated  6200-6500  K,  while  the  color 
temperature  of  the  total  radiation  is 
about  150  K  lower  due  to  propor- 
tional electrode  radiation. 


CAN  YOU  MATCH 
ONE  OF  THESE  3 


TO  YOUR  SCREEN? 


X-16  XENON  ARC 
PROJECTION  LAMPS 


900-watt  model  for  screens  up  to  23  feet  wide  (matte-Cinemascope  Aperture) 

or  28  feet  wide  (high  gain— Cinemascope  Aperture) 
1600-watt  model  for  screens  up  to  29  feet  wide  (matte-Cinemascope  Aperture) 
„„„  or  36  feet  wide  (high  gain-Cinemascope  Aperture) 

2500-watt  model  for  screens  up  to  35  feet  wide  (matte-Cinemascope  Aperture) 

or  43  feet  wide  (high  gain -Cinemascope  Aperture) 


Steady,  flickerless,  pure  white  light  is  independent 

of  voltage  variations  of  the  power  line  supply. 

Extremely  even  distribution  of  light  throughout  the 

total  screen  area. 

"Push-Button  repeatability"  of  intensity  and  color 

temperature. 

Excellent  color  film  reproduction. 

Focu  remains  constant. 


Projects  practically  no  heat  to  the  film  or  aperture 
plate.  No  cooling  required. 
Cleanliness  assures  maximum  life  for  the  projector. 
Simple  operation.  No  moving  parts  in  the  light 
source. 

Maintenance  and  current  costs  are  approximately 
the  same  as  for  carbon  and  current  costs  for  operat- 
ing a  carbon  arc  lamp  of  equivalent  light  output. 


THE 


Send  for  brochure.  Demonstration  in  your  theatre  on  request. 

ELECTk  C  CORPORATION 


31    CITY  PARK   AVENUE 


TOLEDO   1,  OHIO 


Continued  from,  page  5 


The  color  temperature  of  the  high- 
intensity  carbon  arc  is  rated  at 
5400  K. 

Bearing  in  mind  the  disparity  be- 
tween the  true  temperature  in  degrees 
Kelvin  of  a  blackbody  radiator,  and 
the  apparent  color  temperature  of 
light  radiating  from  a  non-blackbody, 
it  is  difficult  to  refer  to  such  light  in 
terms  of  the  absolute  scale.  It  is  even 
more  difficult  to  measure  this  appar- 
ent "color  temperature"  accurately. 
The  problem  was  covered  quite  thor- 
oughly by  Crandell,  Freund  and 
Moen. 

A  wide  difference  of  opinion  con- 
cerning the  color  of  xenon  light  com- 
pared to  carbon-arc  light  was  indi- 
cated by  the  survey.  Color  tempera- 
ture readings  were  generally  incon- 
clusive. When  viewed  side  by  side 
under  identical  conditions,  the  xenon 
light  appeared  to  have  a  lower  ap- 
parent color  temperature  than  the  car- 
bon arc  The  addition  of  a  filter  com- 
parable to  a  Wratten  CC10  to  the 
xenon  output  produced  a  visual 
match  with  the  carbon  arc  light  of 
equal  brightness.  This  led  to  the 
conclusion  that  the  xenon  light  is 
minus  green  when  compared  to  car- 
bon arc  light;  yet  when  a  16mm 
projector  equipped  with  a  450-w 
xenon  lamp  was  added  to  the  com- 
parison it  appeared  to  have  a  much 
higher  apparent  color  temperature 
than  either  the  1600-w  xenon  or  the 
carbon  arc.  The  material  and  design 
of  the  optical  system  is  perhaps  re- 
sponsible for  the  difference  in  ap- 
parent color  temperature,  and  is  the 
subject  of  further  investigation. 

Results  of  the  survey  indicate  that 
the  xenon-arc  lamp,  operated  under 
conditions  that  meet  the  manufac- 
turer's warranty,  is  a  satisfactory 
high-intensity  light  source  for  motion- 
picture  projection.  It  is  constant  in 
color  and  intensity  and  requires  little 
adjustment  or  maintenance,  other 
than  routine  cleaning  of  the  optics.  1/ 
can  be  operated  over  a  wide  current 
range  without  change  in  color.  It  re- 
quires no  attention  while  operating, 
thus  the  projectionist  can  pay  more 
attention  to  sound  level,  focus,  fram- 
ing threading  and  handling  of  film, 
and  to  other  projection  details  that 
all  add  up  to  better  motion-picture 
™ ^^^™         presentation.  iP 

International  Projectionist     September,  1964 


Indoor  House 
Completes  N.J. 
Cinema  Center 

Walter  Reade-Sterling's  new  Com- 
munity Theatre  located  adjacent  to 
the  Eatontown  Drive-in  Theatre  at 
the  Eatontown  Traffic  Circle  on 
Route  35  in  Eatontown,  N.  J.,  held 
a  gala  opening  Auguset  26th. 

The  entire  area  is  known  as  the 
"Eatontown  Cinema  Centre"  with 
both  the  Community  and  Eatontown 
Drive-In  Theatres  operating  concur- 
rently. 

Early  American 

The  new  900  seat  Community  The- 
atre which  fronts  on  Monmoulh 
Parkway  is  of  early  American  de- 
sign, and  is  a  virtual  duplication  of 
the  organization's  Community  in 
Cherry  Hill.  N.  J.,  which  opened 
a  year  ago  and  has  received  archi- 
tectural awards  for  its  designs  and 
decor.  The  Eatontown  Community 
is  shingle-roofed  with  red  sidings. 
and  has  a  white  colonnade  front. 
Although  the  decor  is  colonial,  the 
theatre  has  the  most  advanced  pro- 
jection and  sound  equipment.  Among 
the  many  patron  conveniences  are 
push-back  seating  with  extra  wide 
rows  to  assure  ample  leg  room. 

Another   First 

Public  officials  of  Eatontown  and 
Monmouth  County  joined  celebrities 
of  the  motion  picture  industry  at  a 
reception  and  buffet  dinner  at  the 
Crystal  Brook  Inn  prior  to  a  special 
preview. 

The  "Eatontown  Cinema  Centre" 
complex  is  another  first  for  the  Wal- 
ter Reade  -  Sterling  organization, 
comprising  both  a  major  conven- 
tional roofed  theatre  and  a  year- 
round  outdoor  theatre  within  the 
same  area,  accommodating  over  1200 
cars.  Although  major  first-run  films 
are  shown  simultaneously  at  both 
theatres,  occasionally  each  theatre 
plays  different  attractions. 

The  Community,  the  first  to  be 
built  by  the  Circuit  in  Monmouth 
County  in  many  years,  raises  to  more 
than  50  the  number  of  theatres  for 
the  Walter  Reade-Sterling  organiza- 
tion, and  represents  another  mile- 
stone  in   its   expansion  program.   In 

(Please  turn  to  page  8) 

International  Projectionist 


Christie  Electric  Corp. 
Offers  Broad  Line  of 
DC  Power  Supplies 

Christie  Electric  Corporation  is  cui- 
rentlv  featuring  a  newly  expanded 
line  of  DC  Power  Supplies  designed 
specifically  for  operating  Xenon  and 
Mercury-Zenon  Arc-Lamps.  This  ver- 
satile line  now  consists  of  14  units, 
includes  both  highly  regulated  and 
manual  units. 

Covering  lamp  reading  from  150 
to  10,000  watts,  each  unit  will  oper- 
ate any  of  two  or  more  different 
lamp  sizes,  either  Xenon  or  Mercury- 
Xenon.  They  include  automatic  reg- 
ulation as  well  as  extremely  low  cur- 
rent ripple  and  other  special  features 
for  longer  lamp  life.  Unique  "slope 
control"  in  the  Christie  units  auto- 
matically provides  either  regulated 
constant  current,  constant  power,  <>• 
increasing  power. 

This  enlarged  line  is  widely  used 
in  such  applications  as  solar  simula- 
tion, data  display  systems,  scientific 
instrument-,  and  projection  systems, 
to  name  only  a  few.  Further  infor- 
mation can  be  obtained  from  Christie 
Klei  trie  Corporation.  3110  West  67th 
Street.  Los  Weles,  Cal.,  f)()043. 


Shown  above  is  the  Christie  Electric 
Corp.  Model  CX5000-4S,  5  kilowatt 
power  supply,  which  is  capable  of 
operating  either  Xenon  or  Mercury- 
Xenon  lamps  of  ratings  450  through 
5,000  watts.  The  unit  has  a  maximum 
power  output  of  6,000  watts  with  a 
smoothly  adjustable  current  range  from 
30  to  180  amperes.  It  provides  a  cur- 
regulation  of  ±1%  and  a  current 
ripple  of  less  than  1%. 


look 

into 

Stewart 

Film  screens 

•  •  •  the 

choice 

of 
experts 


► 


y 


FILMSCREENS  FOR  SHOWMEN-Stew- 

art  Projection  Screens-the  choice  of 
15  major  exhibitors  at  the  New  York 
World's  Fair! 

ULTRAMATTE  —  for  commercial  play- 
houses, theatre  TV.  viewing  rooms  ■ 
Seamless  to  46  by  88  feet  ■  Optical 
efficiency  ■  Durable  economy. 
LUXCHROME  50-seamless  rear  pro- 
jection ■  Superior  image  contrast  in 
lighted  rooms. 


FILMSCREENS  FOR  FILM  PRODUCERS 

-used  by  CBS  Studio  Center,  Colum- 
bia. Desilu,  Disney,  Fox,  Goldwyn, 
MGM.  Paramount.  Revue,  UPA,  Uni- 
versal, Warners. 

HI-TRANS- Academy  Award  back- 
ground screen-highest  calibre 
production  "tool." 

ULTRAMATTE  gain  white,  and  LUX- 
MATTE  white  matte— front  projection 
screens  ■  Demanded  by  studios  and 
film  labs  for  viewing  during  produc- 
tion, dubbing,  and  scoring. 
T-MATTE  BLUE -rear-illuminated 
screen  for  latest  traveling-matte 
process  ■  Practical  for  large  and 
small  sets,  major  productions,  or  TV 
commercials. 


► 


FILMSCREENS  FOR  TV  PRODUCTION 

TV-BLUE— background  screen  ■ 
Favorite  of  networks  ■  Versatile  ■ 
Efficient. 

LUXCHROME  60— neutral  gray  screen 
for  closed-circuit  techniques,  back- 
grounds and  rear  projection  viewing. 


A 


y 


. STATE . 


A 


FILMSCREENS  also  designed  for  A-V, 
fairs,  trade  shows,  exhibits,  simula- 
tors, plotting  and  display  systems,  and 
special  architectural  requirements. 


4 


STEWART  FILMSCREEN  CORP. 

1161  W.  Sepulveda  Blvd. 
Torrance,  Calif.  90503  (213)  326-1422 

I  want  to  look  further  into  Stewart  Film- 
screens.  Please  send  me  additional 

information  on: 

NAME 

STREET 

CITY 


September,  1964 


EXHIBITS 


Company 


Booth       Company 


Allen   Products,  Inc.  4 

Milford,  Conn. 

Amega  Corp.  19 

Sun  Valley,  Calif. 

Arriflex  Corp.  of  America  51,  52 

New  York,  New  York 

Boston  Insulated  Wire 

&  Cable  Co.  65 

Boston,  Mass. 

Camera  Mart,  Inc.  16,  17,  18 

New  York,  New  York 
Camera  Service  Center,  Inc.      41 
New  York,  New  York 
Comprehensive  Service  Corp.     59 
New  York,  New  York 
Dage  Television  Co.  21 

Michigan  City,  Ind. 
Andre  Debrie  of  New  York  44,  45 
College  Point,  New  York 
DuKane  Corporation  14 

St.  Charles,  Illinois 
Eclair  Corp  of  America  61 

Los  Angeles,  Calif. 
Carlos  H.  Elmer  38,  39 

Scottsdale,  Arizona 
"Eumig"  Elektrizitats  und 

Metallwaren  Industrie  23 

Vienna,  Austria 

F  &B/Ceco,  Inc.       9,  10,11  &  12 
New  York,  New  York 
Fairchild  Industrial  Products     49 
New  York,  New  York 
Filmline  Corporation  62,  63 

Milford,  Conn. 

Frigidheat  Industries,  Inc.         28 
Nashville,  Tenn. 

General  Camera  Corp.  22 

New  York.  New  York 
Harwald  Company  58 

Evanston,  Illinois 
Heico,  Inc.  27 

Stroudsburg,    Pa. 
Karl  Heitz,  Inc.  13 

New  York,  New  York 
Hi-Speed  Equipment,  Inc.  68 

Waltham,  Mass 

Hollywood  Film  Company  40 

Hollywood,  Calif. 
MGM  Telestudios,  Inc.  48 

New  York,   New  York 
Macbeth  Corp.  &  Subs.  46 

Newburgh,   New  York 
Machtronics,   Inc.  5 

Palo  Alto,  Calif. 
Magnasync  Corp.  70 

No.    Hollywood,   Calif 
Magna-Tech  Electronic 

Co.,   Inc.  3 

8 


Booth 


New  York,  New  York 

Metro/ Kalvar,   Inc.  15 

New  York,  New  York 

Motion  Picture  Enterprises, 

Inc.  20 

Tarrytown,  New  York 
National  Cine  Equipment,  Inc.  56 
New  York,  New  York 
Neumade  Products,  Inc.  53 

New  York,  New  York 
Novatech  Corp.  69 

New  York,  New  York 
Oxberry  Corporation  60 

Mamaroneck,  New  York 
Paillard,  Inc.  6 

Linden,  New  Jersey 
Photo  Lectronic  Research  50 

New  York,  New  York 
Photo-Sonics,  Inc.  39 

Burbank,  Calif 

Plastic  Reel  Corp.  of  America    47 
Weehawken,  N.  J. 
Precision  Laboratories  Div.         55 
Brooklyn,  New  York 
Quick-Set,  Inc.  7,  8 

Skokie,  III. 
Revere-Wollensak  Div., 

3M  Co.  1 

St.  Paul,  Minn. 

Roanwell  Corp.  64 

New  York,  New  York 
S.O.S.  Photo-Cine-Optics, 

Inc.  54 

New  York,  New  York 
Sylvania  Electric  Products, 

Inc.  29,  30 

New  York,  New  York 
Traid  Corporation  38 

Encino,  Calif 

Thomas  Valentino,  Inc.  24 

New  York,  New  York 


Cinema  Center 

(Continued  from  page  7) 

July,  in  conjunction  with  the  Gen- 
eral Cinema  Corporation,  the  com- 
pany opened  the  Cinema  Theatre  in 
the  Blue  Star  Shopping  Center  near 
Plainfield.  On  August  1st,  it  acquir- 
ed the  Bridge  Theatre  in  San  Fran- 
cisco, Calif.,  and  on  August  10th. 
took  over  the  Fine  Arts  Theatre  on 
New  York's  exclusive  East  Side.  In 
1963  Walter  Reade-Sterling  built  or 
acquired  seven  new  theatres. 

A  pioneer  in  the  motion  picture 
industry,  with  almost  sixty  years  of 
theatre  operation,  Walter  Reade- 
Sterling  has  been  a  leader  in  Mon- 
mounth  County's  entertainment  field 
for  decades.  Its  theatre  operations 
are  centered  principally  in  New  Jer- 
sey and  New  York,  and  includes 
seven  first- run  theatres  in  Manhat- 
tan and  Queens. 


Send 

for  complete 

information 

NATIONAL  STUDIOS 

42  West  48  Street,  NYC 


From  Coast-  to  Coast 

From  the 

Music  Hall 

to 

Graumann's  Chinese 

For  Good   Projection 
It's   Hurley  All  the  Way 

HURLEY  SCREEN  COMPANY,  INC. 

96-17  Northern  Blvd.,  Corona,  N.Y.C. 
(See  your  theatre  supply  dealer) 


International  Projectionist     September,  1964 


Two  Kodak  Supervisors 
To  Be  Honored  by  SMPTE 

.*     *     *  •     *     * 

Optical   Design   Director 
To  Receive  New  Award 


Dr.  Rudolph  Kingslake,  director  of 
optica]  design  for  Eastman  Kodak 
Co.,  Rochester,  N.  Y.,  has  been 
named  to  receive  the  1964  Progress 
Medal  Award  of  the  Society  of  Mo- 
tion Picture  and  Television  Engi- 
neers (SMPTE). 

The  Progress  Medal  is  the  pre- 
mier award  of  the  U!-\ ear-old  pro- 
fessional society  and  recognizes  out- 
standing technical  contributions  to 
the  progress  of  motion-picture  and 
television  engineering.  The  award  was 
announced  by  SMPTE  President  Reid 
H.  Ray. 

Formal  presentation  of  the  Prog- 
ress Medal  to  Dr.  Kingslake  will  be 
made  during  SMPTE's  semiannual 
technical  conference  Sept.  27  -  Oct. 
2  at  the  Commodore  Hotel  in  New 
York.  Chairman  of  the  award  com- 
mittee was  Sidney  P.  Solow,  vice- 
president  and  general  manager  of 
Consolidated  Film  Industries.  Holl\- 
wood. 

Dr.  Kingslake,  who  received  bach- 
elor, master,  and  doctor  of  science 
degrees  from  the  Imperial  Collet'  ol 
Science  and  Technology  in  London, 
has  been  awarded  10  patents  in  the 
field  of  optics,  and  is  the  author  of 
numerous  scientific  papers. 

Noted  for  his  ability  to  write  lu- 
cidly on  technical  subjects,  he  has 
contributed  articles  to  several  ency- 
clopedias and  is  the  author  of  the 
book,  "Lenses  in  Photography,"  now 
in  its  second  edition. 


Dr.  Kingslake  came  to  the  United 
States  in  1929  to  join  the  faculty  of 
the  University  of  Rochester  as  assis- 
tant professor  of  geometrical  optics 
and  lens  design.  In  1937,  he  joined 
Kodak  and  became  head  of  the  lens 
design  department  two  years  later. 

He  is  a  Fellow  of  SMPTE.  of  the 
Society  of  Photographic  Scientists 
and  Engineers,  and  of  the  Optical  So- 
ciety of  America.  Dr.  Kingslake  serv- 
ed as  president  of  the  OSA  in  1947- 
1949.  He  is  also  a  member  of  tin- 
Physical  Society  of  London. 


Earl  L.  Arnold,  manager  of  the 
Film  Emulsion  and  Plate  Manufac- 
turing divisions  of  Eastman  Kodak 
Co.  in  Rochester.  N.  Y..  has  won  the 
1061  Herbert  T.  Kalmus  Gold  Medal 
Award  of  the  Society  of  Motion  Pic- 
ture and  Television  Engineers  (SM- 
PTE). 

The  medal  will  be  presented  to 
|  Mr.  Arnold  in 
ceremonies  during 
the  Society's  96th 
Technical  Confer- 
ence, Sept.  27-Oct. 
2  at  the  Commo- 
dore Hotel  in  New 

A\  York- 

^^^^^^L  Established        n 

A  ^^  in 

A       ■   I         I    the    developer    of 
E.  L.  Arnold       t  h  e      Technicolor 
process,  the  award    recognizes    out- 
standing   technical    achievement    in 


CREATE  THE   RIGHT  MOOD   EVERY  TIME  WITH   THE 

Major  Mood  Music  Library 

MAJOR  offers  you  a   full   forty-five  hours  of  mood   music  for 

titles,   bridges,   backgrounds. 

Write  for   Free   Catalogue 

THOMAS  J.  VALENTINO,  INC. 

Established   1932 
150  West  46th  Street         CI  6  4675  New  York  36,  N.  Y. 


color  motion  pictures  for  theater  oi 
television  use.  This  year's  award  was 
announced  by  SMPTE  President  Reid 
H.  Ray.  Chairman  of  the  award  com- 
mittee was  Edward  H.  Reichard, 
chief  engineer  of  Consolidated  Film 
Industries.  Hollywood. 

A  Fellow  of  SMPTE,  Mr.  Arnold 
has  been  engaged  in  the  development 
of  improved  photographic  emulsions 
since  the  mid-1920's.  He  has  been 
genei  al  superintendent  of  the  emul- 
sion and  plate  manufacturing  divi- 
sions of  Kodak  from  1937  to  1952. 
and  manager  of  these  divisions  since 
1952. 

Mr.  Arnold  holds  a  degree  in 
chemistry  from  Cornell  University. 
He  is  an  associate  of  the  Photo- 
graphic Society  of  America  and  a 
member  of  Sigma  Xi,  the  Photo- 
graphic Society  of  Great  Britain, 
the  Society  of  Photographic  Scientists 
and  Engineers,  the  American  Chemi- 
cal Society,  and  the  American  Asso- 
ciation for  the  Advancement  of 
Science. 


The  revolutionary,  proven 
Xenon  Light  System  for 
Quality  Motion  Picture  Pro- 
jection. 

xenosol  features 
these  advantages: 

■  COLOR  FIDELITY  —  pure 
white-colored  light — equally 
effective  for  black  and  white 
or  color  films. 

■  ECONOMY  —  far  lower  cur- 
rent consumption.  Bulb 
guaranteed  1,500  hours  — 
bulb  averages  2,500  hours. 

■  SUPERIOR  QUALITY  PRO- 
jection  —  permanent  adjust- 
ment. Even  distribution  of 
light  over  screen.  Low  tem- 
perature. No  buckling  of 
film. 

■  TROUBLE-FREE  —  unin- 
terrupted performance  — 
operates  without  routine 
maintenance.  No  carbons  to 
change. 

■  CLEAN  OPERATION  —  no 
residue  from  combustion  — 
no  waste  gases,  no  ventila- 
tion required,  lower  cleaning 
and  maintenance  costs. 

■  IMMEDIATE  STARTING  — 
no  burning  in  or  heating  up 
time  —  the  lamps  can  be 
turned  on  just  before 
changeover. 

CINE    ELECTRONICS 
SYSTEMS,  INC. 

980  Madison  Ave.,  New  York  17,  H.  Y. 


An  Affiliate  of  City  Invss^fig  Co. 


International  Projectionist     September,  1964 


Type  A704_the  uniform 
magnetic  sound  recording  film 


HEAR  THE  DIFFERENCE:  "R-type" 
binder  — an  entirely  new,  smoother, 
homogeneous  oxide  layer— reduces  tape 
noise  and  intermodulation  distortion. 

Extremely  tough,  wear-resistant,  but 
without  abrasiveness,  it  minimizes  oxide 
build-up  on  recording  and  pick-up  heads. 

With  its  high  chemical  stability,  it 
makes  for  long  life,  prolonged  usefulness 
of  the  recorded  library. 

And,  most  important,  new  "R-type" 
binder  permits  uniform  oxide  coatings  of 
superb  magnetic  characteristics.  Its  high 
output  and  low  print-through  result  in 
excellent  reproduction  quality  — more 
vibrant  highs,  a  more  natural  balance 
between  highs  and  lows. 


EDGE  SLITTING  exerts  great  influence  on  ulti- 
mate audio  quality;  uneven  tracking  introduces 
intermodulation  distortion.  Note  loose  particles 
on  rough  guiding  edge  shown  in  photomicro- 
graph of  conventional  film  at  left  compared  to 
evenness  of  EASTMAN  Magnetic  Sound  Record- 
ing Film  at  right. 


SEE  THE  DIFFERENCE:  Printed  on  the 
back  of  the  new  Type  A704  film  is  the 
permanent  legend  "Eastman  KodakCo.," 
together  with  a  series  of  dispersion  num- 
bers. This  "Life-Time  Coding"  provides  a 
convenient,  accurate  means  of  indexing 
film  by  content,  a  useful  reference  for 
logging  of  optimum  bias  settings,  re-use 
and  purchase  data.  What's  more,  it  is 
your  assurance  of  highest  quality. 


PERFORATING  affects  audio  fidelity.  Note  the 
superior  perforations  of  the  Eastman  product  at 
right  compared  to  the  uneven  perforations  of 
conventional  film  at  left.  Eastman  perforating 
is  known  for  quality,  for  conformance  to  high 
standards  and  for  rigorous  uniformity. 

AVAILABLE  NOW:  16,  UV2  and  35mm 
widths  in  a  complete  range  of  cores  and 
windings.  For  further  information  about 
EASTMAN  Magnetic  Sound  Recording 
Film,  Type  A704,  as  well  as  the  new 
EASTMAN  Sound  RecordingTapes,  write: 


Magnetic  Products  Sales  Division 

EASTMAN  KODAK  COMPANY 


343  State  St. 
Rochester,  N.Y. 


200  Park  Ave. 
New  York,  N.Y. 


130  E.  Randolph  Dr. 
Chicago,  III. 


6677  Santa  Monica  Blvd. 
Hollywood,  Calif. 


There  is 


To  Light  the 


Projection  Lamp 


Screens! 


INDOOR  THEATRES!  •  DRIVE-IK  THEATRES! 

The     -:<     ^\  '       '    ,>v 


(MCM&W^ 


/ 


r 


y* 


r 


-  < 


~,< 


The  Ultimate  in  Projection  Lamps! 
Engineered  for  the  Projectionist ! 

OPTICALLY  AND  MECHANICALLY 
PERFECTED  TO  PROJECT  THE  MOST 
BRILLIANT  PICTURE  POSSIBLE! .-, 

THE  SUPER  CORE-LITE  PROJECTS: 

MAXIMUM  LIGHT -MAXIMUM 
LIGHT  DISTRIBUTION! 

THE  RESULTS  0Af  THE  SCREEN: 

PERFECT  FOCUS  •  PERFECT  DEFINITION  •  PERFECT 
^SOLUTION  PERFECT  WHITE  LIGHT  PRODUCES 
TR  IE  COLOR  REPRODUCTION!  -  v 


ASHCRAFT  MANUFACTURING  CO.,  INC, 

36-32  THIRTY-EIGHTH  STREET,  LONG  ISLAND  CITY  1,  NEW  YORK 


SOLD  EVE*     WHERE  IN  THE  UNITED  STATES  BY  LEADING  AUTHORIZED  THEATRE  SUPPLY  DEALERS 


Eastman  Kodak's 
New  Print  Format 
Boosts  8mm  Utility 

An  experimental  format  for  8mm 
motion  pictures  for  educational,  in- 
dustrial, and  commercial  purposes 
was  described  by  two  Eastman  Kodak 
Company  men  recently  before  the 
Society  of  Motion  Picture  and  Tele- 
vision Engineers.  Their  report  was 
made  in  response  to  growing  interest 
in  commercial  8mm  prints  in  the 
trade. 

E.  A.  Edwards  and  J.  S.  Chandler, 
both  of  Rochester,  N.  Y.,  said  that 
their  theoretical  study  of  a  modified 
8mm  format  had  the  objective  of 
getting  the  best  quality  sound  and 
picture  from  8mm  film  with  mini- 
mum added  cost.  It  provides  a  pro- 
jected image  with  approximated  50 
percent  more  area  than  present  8mm. 

In  a  study  of  the  four  major 
functions  of  the  film  —  pictures, 
sound,  indexing,  and  guiding  —  they 
found  that  the  present  8mm  formal 
uses  oiil\    17  pi'iicnl  <>f  the  film  area 


for  picture  image. 

Thev  were  able  to  raise  this  to  63 
percent  for  the  experimental  format. 
This  was  accomplished  by  reducing 
the  size  of  the  perforations  and  plac- 
ing the  perforations  nearer  the  edge 
of  the  film.  The  sound  track  was  also 
moved  to  the  opposite  edge  of  the 
film  from  the  perforations. 

After  extensive  testing  they  arrived 
at  an  8mm  strip  of  film  with  36-mil 
wide  perforations  spaced  20  mils 
in  from  one  slit  edge  of  the  film,  a 
somewhat  larger  pitch  of  .1667 
inches,  and  a  magnetic  sound  track 
30  mils  wide  along  the  other  slit  edge 
of  the  film.  This  leaves  228  mils 
down  the  center  of  the  strip  for  the 
picture. 

One  of  their  objectives  with  the 
experimental  8mm  format  was  com- 
patibility, so  16  mm  originals  or 
masters  can  be  reduction  printed  onto 
the  8mm  film.  According  to  their 
design,  the  16  mm  image  will  fit  the 
width  available  on  the  new  experi- 
mental 8mm  film  at  a  reduction  of 
1.8  to  1.  iP 


New  Process 


Handbook  Describes 
Film  Aging  Blemishes 

Over  the  years  the  National  Bureau 
of  Standards  has  conducted  consider- 
able research  on  the  permanence  of 
record  materials,  including  both 
paper  and  photographic  film.  Recent- 
ly, microscopic  blemishes  have  been 
found  on  microfilms;  apparently 
they  had  developed  after  the  film  was 
put  in  storage.  Practically  no  infor- 
mation loss  has  been  observed,  but 
any  potential  threat  to  the  perman- 
ence of  Government  records  is  a 
matter  of  concern  not  only  to  the 
National  Bureau  of  Standards  but 
to  records  officers  throughout  the 
Government.  There  is  much  to  be 
learned  from  these  blemishes  and 
they  are  being  studied  in  many 
laboratories. 

A  report  on  findings  is  contained 
in  Inspection  of  Processed  Photo- 
graphic Record  Films  for  Aging 
'Blemishes,  by  C.  S.  McCamy,  Na- 
tional Bureau  of  Standards  Hand- 
book 96,  available  for  25c  from  the 
Superintendent  of  Documents,  U.  S. 
Government  Printing  Office,  Wash- 
ington. I).  C.  20402.  iP 


OUT  OF  PRINT 

MITCHELL  MANUAL 

AVAILABLE! 

The  renowned  "Manual  for 
Practical  Projection"  by  Robert  A. 
Mitchell  is  now  out  of  print,  ac- 
cording to  an  announcement  by  the 
bookseller,  International  Projec- 
tionist. 

Returns  from  our  retail  outlets 
have  been  consolidated  and  we 
now  have  approximately  40  vol- 
umes of  the  Mitchell  Manual  avail- 
able on  a  first-come-first  served 
basis. 

These  books  are  in  brand  new 
condition,  complete  with  dust 
jackets;  have  never  been  used. 
This  rare  publication  can  be  yours 
for  $10  cash  or  money  order. 
Sorry,  no  C.O.D.  or  foreign  orders 
can  be  accepted  at  this  price. 

Sheehan    Booksellers 

Box   410,    Route   5 
Wayzata,    Minnesota    55391 


New  process  Cinerama  came  to 
Washington  when  The  Stanley  War- 
ner Uptown  equipped  its  projection 
/  room  with  National  Ventarc  blown  arc 
type  lamps.  Shown  here  is  Kenneth 
R.  Davis,  manager,  looking  over  the 
new  equipment  with  Charles  Sadder, 
Sr.,  projectionist.  Literature  on  this 
equipment  will  be  sent  to  anyone  ad- 
dressing a  request  to  The  Strong 
Electric  Corporation,  31  City  Park 
Avenue,  Toledo,  Ohio,  43601. 


HEYER-SHULTZ 
METAL  REFLECTORS 

Top  Screen  Illumination 

Will  Not  Break,  Pit  or  Tarnish 

No  Replacement  or  Spare  Reflectors  Requi 
See  your  dealer  or  write  for  full  p~' 
Manufactured  By  HEYER-SHULTZ,  Inc.,  Cedar  Grove,  N.  J.      M 


International  Projectionist     September.  1964 


13 


Hey  er  -  Schultz 

Thirty  years  ago,  on  November  10,  1934,  the  Heyer-Schultz  Precision 
Metal  Reflector  was  developed  and  shortly  thereafter  was  placed  on  the  market 
in  the  form  of  Motion  Picture  Projection  Arc  Reflectors.  In  the  years  that 
have  passed  the  facilities  for  this  activity  have  found  new  fields  in  Govern- 
ment Research  &  Development  projects  such  as  searchlights,  radar,  ultra- 
violet and  infra-red  applications,  solar  furnaces,  arc  image  furnaces,  solar 
simulators,  etc. 

It  all  began  when  the  late  Charles 
E.  Schultz,  a  local  projectionist,  ran 
into  the  problem  of  mirror  breakage 
with  the  new  reflector  arc  lamps  he 
was  operating.  He 


,  t  i^i 


% 


*Q&- 


LMiL 

Heyer 


took  his  problem 
to  a  friend,  Earl 
B.  Heyer,  now 
president  of  Hey- 
er-Schultz ,  Inc., 
who  at  that  time 
was  a  machinist 
and  an  active 
member  of  a  local 
camera  club.  The 
matter     was     dis- 


cussed, a  plan  formulated  and  within 
two  days  the  first  prototype  reflector 
was  on  test. 

The  initial  model  to  be  made  was 
a  7  5/8"  elliptical  reflector  for  use 
in  the  Peerless  low  intensity  lamp, 
which  at  that  time  was  being  con- 
verted from  the  combination  para- 
bolic mirror/condenser  arrangement. 
From  there  the  next  step  was  a  re- 
flector of  11  3/8"  diameter  for  use 
in  the  1  KW  lamps  and  then  the 
13  1/2"  and  14"  sizes  for  use  in 
the  larger  lamps. 

These  reflectors  were  constructed 
of  a  pre-formed  to  near  curvature 
brass  base  material  which  was  then 
lathe  turned  to  optical  precision, 
ground,  polished,  nickel  plated,  pol- 
ished and  rhodium  plated.  Due  to  the 
high  degree  of  optical  precision  of 
this  product  it  was  able  to  meet  the 
screen  illumination  requirements  as 
established  by  the  more  reflective 
silvered  back  mirror,  which  was  not 
optically  ground. 

The  H-S  Reflector  was  marketed 
through  independent  motion  picture 
equipment  distributors  for  several 
years  until  a  national  organization 
realized  the  merits  of  the  product 
and  took  over  its  distribution.  As 
irive-In  Theatres  became  popular 
'  large  screens  for  Cinemascope 
were  necessary  lamps  were  converted 
to  bu  n  larger  carbon  trims  at  higher 
arnper  =.  Because  these  lamps  were 
not  on  ally  designed  with  suffi- 
cient ventilation  to  handle  this 
amount  of  sat  and  arc  smoke  the 
mirror  brea,  r_'e  problem  became 
paramount,  with   the   result  that  the 

14 


H-S  Metal  Reflector  was  a  MUST 
in  many  instances  and  a  real  econ- 
omy item  in  less  extreme  cases. 

With  the  advent  of  the  larger 
screens  more  illumination  was  re- 
quired and  to  fill  this  damend  Heyer- 
Schultz,  Inc.  introduced  its  High 
Efficiency  Aluminized  Metal  Reflec- 
tor in  1952.  This  type  reflector  was 
12%  more  reflective  than  the  stand- 
ard rhodium  plated  type  and  was 
made  available  for  use  in  all  lamps, 
including  the  then  new  16"  and  16%" 
reflector  lamps,  as  well  as  the  18"  and 
21"  lamps  that  followed. 

About  this  time  numerous  Govern- 
ment projects  began  to  appear  in 
which  precision  metal  reflectors  were 
specified,  for  use  in  searchlights, 
missile  range  shadowgraph  photog- 
raphy, infra-red  detecting  devices, 
radar  scanning  reflectors  and  arc 
image  furnaces,  plus  many  other 
types  made  to  special  specifications 
for  which  the  end  use  was  not  re- 
vealed. Current  R&D  work  in  pre 
cision  metal  reflectors  is  extremelv 
active. 

An  unexpected  by-product  that 
resulted  from  this  activity  is  the  re- 
habilitation of  H-S  metal  reflectors 
that  have,  in  many  instances,  been  in 


Oxberry  Moves  To 
Expanded  Facilities 

Oxberry  Corporation  has  relocated 
all  offices,  engineering  and  manu- 
facturing facilities  to  a  large  plant  in 
Mamaroneck,  N.  Y. 

A.  Kip  Livingston,  Executive  Vice 
President,  stated  that  "the  increased 
activity  in  the  company's  current  line 
of  professional  printers  and  anima- 
tion equipment,  as  well  as  the  firm's 
expansion  into  the  film  processing 
and  lower  priced  animation  equip- 
ment have  made  this  move  essential." 

The  new  facilities  also  enable  Ox- 
berry to  increase  its  activity  in  the 
development  of  special  photographic 
equipment  and  embark  on  a  more 
comprehensive  program  for  reaching 
the  world  Markets  with  this  profes- 
sional equipment.  IP 


The  famous  shape  of  quality — a  Heyer- 
Schultz  reflector.  This  product  was  the 
development  of  the  late  Charles  E. 
Schultz  and  Earl  B.  Heyer,  now  presi- 
dent of  the  firm. 

regular  use  for  more  than  20  years. 
This  refinishing  operation  restores 
the  scratched  reflective  surface  to 
its  original  lustre  and  durability  for 
but  a  part  of  the  new  reflector  price, 
thereby  adding  economy  to  dependa- 
bility. 

And  it  all  started  in  a  small  town 
projection  booth! 


The  home  of  Heyer-Schultz  precision  metal  reflectors  in  Cedar  Grove,  N.  J.  is  the 
scene  of  advanced  research  and  development  in  behalf  of  the  government 

International  Projectionist     September,  1964 


Tri-State 


On  June  7th,  Local  57o.  IATSE.  was 
vention  of  the  Tri-State  Association,  wh 
western  Pennsylvania,  eastern  Ohio  and 

Following  the  annual  meeting,  a 
banquet  was  attended  by  140  mem- 
bers, including  International  Presi- 
dent Richard  F.  Walsh,  Assistant 
President  Walter  F.  Diehl,  Vice  Pres- 
ident Harry  J.  Abbott  and  Represen- 
tative Maynard  Baird. 

At    the    banquet    the    locals    only 


host  to  the  Fiftieth  Anniversary  Con- 
ich  is  composed  of  I.  A.  locals  from 
West  Virginia. 

?urviving  charter  member.  Henry 
Bennett,  was  honored.  Two  other 
members.  C.  P.  DeFere  and  H.  D. 
Kellv.  were  honored  for  their  40 
years'  service.  International  Officers 
were  presented  with  honorary  mem- 
bership cards  in  Local  578. 


[il3JiniLiimt&mjrrj 

A=rT?S^A       £    ^CTa/    A    *W 


NG 
INE 


Celebrating  the  Tri-State  association's  anniversary  (left  to  right)  were:  Interna- 
tional President  Richard  F.  Walsh;  H.  D.  Kelly,  secretary  of  Local  578;  Richard 
J.  Hcrstine,  Business  Manager  of  Local  578  and  Sec'y  of  the  Tri-State  Association; 
Assistant  President  Walter  F.  Diehl. 


Front  (1-r):  Philip  Bordonaro,  4th  Dist.  Secretary;  Vice-President  Harry  Abbott; 
Henry  Bennett,  charter  member  of  Local  578;  President  Richard  F.  Walsh;  Ass't. 
President  Walter  F.  Diehl;  Representative  Maynard  Baird.  Second  row  (1-r): 
Richard  D.  Herstone,  president  Local  578;  H.  D.  Kelly,  secretary,  Local  578,  Ell- 
wood  Ohleger,  Local  B-ll;  Joseph  Marchant,  Local  113;  Edward  Krayer,  Local 
621;  Patricia  Daherty,  Local  862;  W.  Huett  Nestor,  Local  239;  David  Cornwell, 
Local  386.  Thir  row  (1-r):  Emmett  Barnes,  Local  566;  Martin  Torreano,  Local 
171;  George  Figard,  Local  636;  Denny  Sigler,  Local  566;  T.  P.  Edkins,  Jr.,  Local 
3;  Richard  J.  Herstine,  Local  578;  Henry  Becker,  Local  3;  August  A.  DeFrere, 
Vice-President  Local  578;  William  J.  Howe,  Local  287. 


tar 

Film    Cement 

Sold  by  Supply  Dealers 

Send  for  FREE  Sample 

ACE  CHEMICAL  CO. 

(Division  of  the 

Ace    Electric   Mfg.    Co. I 

1923    Bay    Road 

Miami  Beach,  Florida 


Maier-Hancock    816 
Designed  for  Precision 

Fast,  strong,  precision  splices  arc 
promised  the  user  of  the  Maier- 
Hancock  Corporation's  Model  816 
portable   hot   splicer. 

Designed  for  alternate  use  with 
8mm,  16mm  or  35mm  film,  the  splic- 
er features  hardened  chrome  steel 
cutter  blades  and  the  patented  "life- 
time"  scraper   blade. 

Features  of  the  Model  816  will  de- 
light a  technician.  When  he's  work- 
ing with  16mm  sound  film,  two  sets 
of  pilot  pins  permit  splicing  with  the 
perforations  either  toward  or  away 
from  him.  This  eliminates  the  neces- 
sity of  looping  the  film  around  the 
splicer — important  when  using  "A" 
and  "B"  rolls.  On  the  model  1635, 
the  16mm  pilot  pins  retract  and 
permit  35mm  splicing.  A  neon  pilot 
light  warns  that  the  unit  is  plugged 
in,   acts  as   a  safety   feature.         UP 


CARBON  ARCS    .       .   for  finest  Projection    .   .   .    Compact  Xenon  Arcs 


division 
Brighter  Light  on  Screen 

•  Longer  Burning  per  Carbon 

*  More  Economical  ...  / 

CARBONS,   INC. 


International  Projectionist     September,  1964 


jemosr 


products 


Trrj*os£  LAMPHOUSES  •  Xerjvoss  POWER  S 

by  Cinemeccanica  by  Christie 


BOON  TON.   N.  J. 


15 


Kodak  Photographers  Travel 
750,000  Miles  to  Find  Color 
Pictures  for  N.  Y.  World's  Fair 

Fourteen  footsore  but  satisfied  Eastman  Kodak  photographers  recently 
completed  a  world-wide  search  for  suitable  pictures  for  the  Kodak  World's 
Fair  Pavilion.  The  photographers  traveled  the  equivalent  of  six  times  around 
the  world  in  their  search  for  60  pictures  which  appear  in  color  as  20  x  36  fool 
prints  on  Kodak's  Picture  Tower  at  the  New  York  World's  Fair. 

Lincoln  V.  Burrows,  Kodak's  Di-         


rector  of  World's  Fair  Planning,  ex- 
plains that  the  pictures  "are  intended 
to  focus  the  attention  of  70  million 
World's  Fair  visitors  on  the  people 
and  places  of  our  world  of  contrasts. 
"By  employing  the  universal  language 
of  photography  we  at  Kodak  hope  to 
do  our  part  in  implementing  the 
World's  Fair  theme  of  'Peace  through 
Understanding'."  he  added. 

Wide  Search 

The  photographers,  advised  to  con- 
tact local  Kodak  dealers  and  repre- 
sentatives for  advice,  began  their  tra- 
vels in  early  1963  and  completed  their 
assignments  by  late  fall.  A  special 
Washington,  D.  C.  ceremony  launched 
the  station-wagon-trailer  accommoda- 
tions for  those  photographers  work- 
ing on  assignment  in  the  U.  S.,  Can- 
ada and  Mexico. 

The  picture-taking  project,  largest 
of  its  kind  ever  undertaken,  called  for 
some  bizarre  travel  arrangements 
ranging  from  jet  planes  and  helicop- 
ters to  Norwegian  pack  horses,  Alpine 
cable  cars  and  several  hundred  miles 
of  hiking.  For  example,  photographer 
Lee  Howick  flew  by  jet  to  Australia 
only  to  crawl  by  jeep  over  a  dry  riv- 
ei  bed  to  photograph  desolate  but 
beautiful  Palm  Valley.  Later,  Ho 
wick's  seven-hour  trek  to  the  Banawe 
rice  terraces  in  the  Philippines  neces- 
sitated constant  contact  with  tele- 
phone stations  strung  along  the  one- 
lane  path. 

Hawaiian   Scenes 

Ralph  Amdursky,  another  Kodak 
photographer,  captured  Hawaiian 
?in  forest  beauty  on  film  and  then 
-  zed  himself  and  his  equipment 
intc  a  helicopter  to  film  native  out- 
rigge.  canoes  crashing  through  the. 
surf  at  'aikiki.  On  the  other  side  of 
the  globe.  Neal  Montanus  set  out  one 
day  to  ph  raph  the  Matterhorn  in 
the  Swiss  i  s  and  returned  in  the 
late  afternoon  /ithout  his  picture  but 
with  a  skier  w    >  had  been  rescued 


16 


from  a  crevasse.  Montanus  made  his 
picture  of  the  Matterhorn  a  few  days 
later. 

Eleven  Kodak  photographers  con- 
tributed to  the  domestic  phot  cara- 
van effort.  Stopping  their  specially 
equipped  trailer  whenever  they  dis- 
covered a  possible  picture  story,  the 
men  shot  the  steel  mills  at  Bessemer, 
the  French  Quarter  in  New  Orleans, 
as  well  as  shrimp  fleets  in  the  Gulf  of 
Mexico.  In  the  West,  Texas  location 
shots  included  the  Alamo  as  well  as 
modern-day  cattle  ranches  and  the 
photographers,  often  working  in 
pairs,  also  found  time  to  capture  on 
film  Pueblo  Indian  life,  the  Rockies, 
Yellowstone  National  Park  and  the 
Grand  Teton  Mountain  range. 

The  60-odd  pictures  for  the  Kodak 
Picture  Tower  are  illuminated  night 
and  day  with  special  lights  so  bril- 
liant that  the  color  prints  have  the 
visual  impact  formerly  associated 
only  with  transparencies. 

Commenting  on  the  photographs 
in  their  World's  Fair  context,  Peter 
Braal,  manager  of  Kodak's  Photo- 
graphic Illustrations  Division,  said, 
"The  giant  photographs  are  oui 
World's  Fair  beacon  —  they  are  as 
appealing  as  the  world  we  searched 
to  find  them."  iP 

G.  M.  Berggren 
Named  by  Kollmorgen 

NORTHAMPTON,  MASS.— Glenn 
M.  Berggren  has  been  appointed  to 
the  new  position  of  Manager,  Thet- 
ater  Equipment  Sales  at  Kollmorgen 
Corporation. 

Berggren,  a  graduate  of  the  Uni- 
versity of  Rochester,  will  be  respon- 
sible for  the  sale  of  standard  and 
special  purpose  lenses,  including 
35MM   Snaplite   Projection   Lenses. 

He  will  take  over  all  duties  for- 
merly held  by  Louis  F.  Salig,  who 
has  recently  joined  Pembrex  Theater 
Supply  Corp.  in  Los  Angeles.       IP 


Lena  Hudson,  B  &  L 
Lens  Designer,  Retires 

Miss  Lena  Hudson,  lens  designer 
in  the  Optical  Systems  Research  & 
Development  Department  at  Bausch 
&  Lomb  Incorporated,  retired  August 
28  after  more  than  41  years  of  ser- 
vice. 

Miss  Hudson's  career  at  Bausch  & 
Lomb     started    in 
1923    in    the    Sci- 
entific Bureau,  fol- 
lowing graduation 
from      Syracuse 
University  with   a 
B.    A.    in    Mathe- 
m  a  t  i  c  s  .    Subse- 
quently,    she     be- 
came      associated 
with    Dr.    Wilbur 
Lena  Hudson       Rayton   in   Photo- 
graph Lens  Design,  where   she  was 
involved    with    the    design    and    de- 
velopment of  lenses  for  camera  fans 
and  newspaper  photographers. 

She  has  also  designed  lenses  for 
TV  and  movie  cameras,  plus  those 
used  in  aerial  photography.  Her  most 
recent  contribution  has  been  the  de- 
sign of  the  new  Super  Baltar  Lenses, 
lately  put  on  the  market,  three  of 
which  were  used  in  the  recent  Moon 
Shots. 

Miss  Hudson  is  a  member  of  the 
Optical  Society  of  America,  the 
Bausch  &  Lomb  Early  Settler's  Club, 
and  holds  a  number  of  patents  and 
applications.  iP 

National  General 
To  Build  800-Seat 
Denver  Showhouse 

As  a  part  of  a  major  theatre  ex- 
pansion program,  National  General 
Corp.  held  ground-breaking  cere- 
monies for  its  220th  motion  picture 
theatre,  an  800-seat  showcase  in 
the  Lakewood  section  of  Denver, 
Colo.,  it  was  announced  by  Eugene 
V.  Klein,  chairman  and  president 
of  the  Los  Angeles-based  theatre  cir- 
cuit operator  and  entertainment  com- 
pany. 

Scheduled  for  opening  early  next 
year,  the  newest  Fox  Theatre  is  lo- 
cated in  the  center  of  a  population 
area  of  130,000  not  served  by  a  mo- 
tion picture  theatre,  Klein  pointer! 
out. 

Recently  NGC  announced  con- 
struction of  a  shopping  center  the 
atre  in  Las  Vegas,  following  the  pat- 
tern set  last  year  when  NGC  opened 
shopping  center  showhouses  in  Al- 
buquerque, New  Mexico,  and  in 
Palos  Verdes,  Northridge  and  Thou- 
sand Oaks  in  the  Los  Angeles  metro- 
politan area,  and  also  at  Los  Alami- 
tos  in  Orange  County.  iP 

International  Projectionist      September,  1964 


Ashcraft  Super  Core-Lite 
Debuts  in  St.  Louis  Drive-ins 

Three  St.  Louis  Drive-In  Theatres,  all  built  in  pre-Cinemascope  days,  have 
modernized  their  projection  and  screen  lighting  equipment  by  replacing  all  of 
the  equipment  previously   used   with  new  and  improved  equipment  designed 
to  give  the  most  light  possible  per  kilowatt  of  electricity  used. 
Mr.  Barton  Krueger,  General  Man-  ~ 


ager  of  the  Wehrenberg  Circuit  of 
theatres,  selected  Ashcraft  Super 
Core-Lite  Arc  Lamps  to  light  the  52' 
X  104'  screens  in  their  Ronnie's 
Drive-In,  located  on  Lindberg  Blvd. 
in  South  St.  Louis  County,  and  in 
their  North  Drive-In,  located  on 
Highway  67  in  North  St.  Louis  Coun- 
ty. In  addition  to  Ashcraft  Super 
Core-Lite  Arc  Lamps,  Philips  Norelco 
35  70mm  projectors  with  multiple 
magnetic  and  optical  sound  pickups 
were  installed. 

Trend    Noted 

The  Holiday  Drive-In,  located  on 
Page  Blvd.  in  West  St.  Louis  Count). 
i-  owned  and  operated  bj   Louis  Ja- 

blaknow  of  Mid- America  Theatres. 
I  he)  selected  Ashcraft  Super  Core- 
Lite  Arc  Lamps  and  new  Simplex  XL 
projectors  with  high  speed  5-to-l  ra- 
tio intermittent  movements.  The  size 
of  the  Holiday  screen  is  also  52'  hinli 
and  104*  wide. 

All  three  Drive- Ins  made  these  im- 
provements in  projection  and  screen 
lighting  equipment  within  a  thirty 
day  period,  which  indicates  a  trend 
towards  the  upgrading  of  eqiupment 
in  older  drive-ins. 

Specifications 

The  Ashcraft  Super  Core-Lite  Arc 
Lamps  in  each  of  the  three  theatre.- 
burn  at  145  to  160  amperes  with  (>  I 
to  66  arc  volts.  The  working  distance 
between  the  cold  type  reflector  and 
the  film  is  29%",  an  exclusive  feature 
of  Super  Core-Lite  Arc  Lamps. 
13.6mm  x  18"  positive  rotating  high 
intensity  and  7  16"  x  9  special  cop- 
per coated  negative  carbons  are  used. 
The  pure  silver  positive  carbon  jaws 
are  water  cooled. 


'  Vast    Improvement 

No  change  in  current  converters  in 
the  three  theatres  was  necessary,  since 
existing  motor  generator  sets  were  of 
capacity  well  within  the  current  and 
voltage  range  to  operate  the  Super 
Core-Lite  Arc  Lamps. 

The  three  installations  were  mad':" 
under  the  supervision  of  Harry  Hoff, 

International  Projectionist     September,  1964 


Manager  of  National  Theatre  Supply 
Company's  St.  Louis  branch,  who 
said,  "The  improvements  in  screen 
lighting  in  these  three  drive-ins  is  a 
decision  of  their  agressive  manage- 
ments to  give  the  nearest  possible  ap- 
pioach  to  indoor  projection  quality 
for  their  drive-in  patrons."' 


Three  new  Ashcraft  equipment  instal- 
lations, all  in  St.  Louis  County,  St.  Lou- 
is, Mo.,  are  shown  in  these  photos. 
(Top)  Ashcraft  Super  Core-Lite  arc 
lamps,  Simplex  XL  Projectors  with  5- 
to-1  ratio  fast  pull  down  intermittent 
movements,  and  Simplex  XL  sound 
heads  are  used  at  the  Holiday  Drive-in 
on  Page  Boulevard  (West);  the  owner 
is  Louis  Vablaknow,  Mid-America  The- 
atres. (Middle)  Ronnie's  Drive-in,  on 
Lindberg  Boulevard  (South),  uses  the 
Ashcraft  Super  Core-Lite  arc  lamps 
with  Philips  Norelco  35  70  mm  pro- 
jectors. Owner  is  Wehrenberg  Circuit 
Theatres,  the  manager  is  Ronald  Krue- 
ger. (Bottom)  At  the  North  Drive-in 
on  Highway  67,  IATSE  projectionist 
Irving  Mueller  is  shown  with  the  new 
Ashcraft  Super  Core-Lite  arc  lamps  and 
Philips  Norelco  35  70  mm  projectors.  . 


17 


Drive-in  Theatre  Mfg. 
Acquires  RCA  In-Car 
Speaker  Business 

The  acquisition  of  the  in-car 
speaker  operations  of  Radio  Corpora- 
tion of  America  by  Drive-in  Theatre 
Mfg.  Co.  was  announced  recently. 

The  transaction  includes  all  tool- 
ing, dies,  drawing  and  the  inventory 
of  finished  items.  The  tooling  and 
dies  include  all  models  of  the  in-car 
speaker,  both  aluminum  and  plastic, 
and  all  models  of  junction  boxes, 
both  new  and  old  style,  as  well  as  all 
component  parts  for  the  speakers  and 
junction  boxes. 

Drive-In  Theatre  has  announced 
that  all  speakers  and  junction  boxes 
will  be  produced  in  strict  accordance 
with  RCA's  drawings,  and  will  incor- 
porate all  of  the  latest  improvements 
developed  by  RCA.  Exhibitors  will 
continue  to  have  the  double  payoff 
of  top  quality  and  long-operating  life 
assured  by  RCA  engineering,  with 
equipment  and  parts  produced  from 
genuine  RCA  dies. 

Speakers  will  be  available  as  al- 
ways in  the  deluxe  Starlight  finish 
or  natural  aluminum  finish,  and  with 
straight  or  Koiled  Kord.  The  popu- 
lar, formed-aluminum  screen  guard 
grill  and  floating-action  volume  con- 
trol knob,  firsts  from  RCA,  will  be 
standard  on  all  speakers. 

The  new  style  "Circlite"  junction 
box  will  still  be  available  with  plastic 
diffuser  strips  in  red,  white  or  green, 
and  may  be  purchased  with  or  with- 
out downlight.  Speaker  baskets  of 
strong,  formed-aluminum  rod  are 
optional.  Drive-In  Theatre  will  con- 
tinue to  produce  old-style  aluminum 
junction  boxes,  with  or  without 
downlights,  for  drive-ins  which  still 
use  this  kind;  the  red  or  green 
plastic  top  replacements  will  be  avail- 
able and  speaker  baskets  will  be  pro- 
duced for  this  junction  box. 

Drive-In  Theatre's  production 
manager  spent  several  days  at  RCA's 
Camden,  N.  J.,  plant,  studying  pro- 
duction techniques  and  conferring 
with  engineers,  preparatory  to  main- 
taining a  policy  of  rigid  quality  con- 
trol and  dependable  products.  The 
aluminum  foundries  were  also  visited, 

study  methods  and  the  formula  of 
hi  -.grade  aluminum  used.  Every 
eff c  r:  has  been  made  to  assure  exhibi- 
tors that  no  substitutions  will  be 
made,  .cording  to  company  spokes- 
men. 

Drive-L  Theatre  is  in  full  pro- 
duction of  e  RCA  line  and  can 
make  prompt  hipment  of  speakers, 
junction  boxes  and  all  parts.  iP 

18 


Macon  Projectionists' 
President  Dead  at  53 

J.  Clarence  Norton,  president  of 
Local  507,  I.A.T.S.E.,  Macon,  Ga., 
died  suddenly  while  vacationing  in 
North  Carolina,  it  was  learned  re- 
cently by  International  Projectionist. 

At  53,  Mr.  Norton  had  served  as 
piesident  of  the  local  for  eight  years. 
He  also  had  been  vice  president  of 
the  Sixth  District  State  AFL-CIO  for 
three  years. 

He  was  projectionist  at  the  Bibb 
Theatre  in  Macon.  iP 

Evro  Co.  Acquires 
Loew's  Coney  Island 

A  famous  Coney  Island  landmark 
and  theatrical  showplace  has  been 
acquired  from  Loew's,  Inc.  by  the 
Evro  Theatre  Corp.,  according  to  an 
announcement  by  Sam  Kantor,  presi- 
dent of  Evro. 

Lcew's  Coney  Island  building,  on 
the  corner  of  Surf  and  Stillwell 
Avenues,  and  the  theatre  will  be  re- 
furbished under  a  modernization 
plan  blue-printed  by  Kantor,  who  will 
operate  the  theatre. 

Kantor  was  general  manager  with 
the  Brandt  theatre  circuit  for  27 
years,  and  will  continue  his  associa- 
tion with  Harry  Brandt  in  the  buying, 
booking  and  advertising  for  the 
theatre.    The  theatre's  name  will  be 


changed  to  the  Shore  and  wl!! 


on  a  first  run  policy. 


will  operate 
iP 


PROJECTOR 
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25-30  Club  Observes 
Special  Occasions 

Two  special  events  marked  the  pre- 
summer  meeting  of  the  Twenty-five — 
Thirty  Club,  held  at  the  Hotel  Cla- 
ridge  in   New  York. 

The  group  was  presented  a 
statuette  of  Will  Rogers,  inscribed 
"Awarded  to  the  Twenty-five — Thirty 
Club,  Inc.,  for  Meritorius  Service." 
Through  it  "copper  drippings"  pro- 
gram started  by  president  Morris  I. 
Klapholz,  25 — 30  helps  support  the 
Will   Rogers   Memorial   Hospital. 

Another  happy  occasion  was  ob- 
served at  the  meeting  — -  the  Golden 
Wedding  Anniversary  of  long-time 
member  Sam  Kirshenbaum  and  his 
wife,  Rose.  iP 


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International  Projectionist     September,  1964 


basic 
mathematics 

by  NORMAN  H.  CIOWHURST 


PRACTICAL 
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A  KNOWLEDGE  OF  MATH  SPEEDS  YOUR  PROGRESS  IN 
ELECTRONICS  —  No  matter  what  your  plans  are  in 
electronics   —   mathematics    plays   a    vital    role.    The 


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an  advanced  technician  or  an  engineer,  this  course 
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Volume  I  —  ARITHMETIC  AS  AN  OUTGROWTH  OF 
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trigonometry  as  better  methods  of  solving  a  problem 
when  the  arithmetic  begins  to  get  invoked.  #268-2, 
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Volume  III  —  DEVELOPING  ALGEBRA,  GEOMETRY, 
TRIGONOMETRY,  CALCULUS  AS  WORKING  METHODS  IN 
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"National"  projector  carbons  are  an  investment  — 
never  a  house  expense.  They  have  been  the  last  word 
in  patron-pleasing  lighting  for  nearly  50  years! 


UNION 
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"National"  is  a  registered  trade-mark  of 

UNION  CARBIDE  CORPORATION 

CARBON  PRODUCTS  DIVISION 
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INTERNATIONAL 

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The  Martin  Cinerama,  New  Orleans, 
has  joined  the  ranks  of  theatres  using  the 
new  method  of  Cinerama  presentation.  Paul 
J.  Nosacka,  Jr.,  assistant  manager  (left) 
and  James  E.  Skelly,  Jr.,  projectionist,  are 
shown  with  the  new  National  Ventarc  pro- 
jection lamps  that  deliver  the  abundance  of 
light  required  by  the  modern  technique. 
Ventarcs  are  widely  accepted  for  Cinerama 
throughout   the  country. 


6 


jj)  OCT '28 1**1 

VOLUME  39 
40c  A  COPY 


1964 

NUMBER  10 

$3.00  A  YEAR 


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If  you  want  proof  of  the  importance  of  a  well- 
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screen  light  for  a  few  minutes! 

The  spontaneous  and  noisy  reaction  of  your  audi- 
ence will  quickly  tell  you  how  movie  patrons  feel  when 
screen  lighting  isn't  up  to  par. 

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UNION  CARBIDE  CORPORATION 

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In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL 

PROJ  ECTIONIST 


Volume  39 


October  1964 


No.  10 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 


RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment   Editor 


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IN  THIS  ISSUE 

Film  Mutilators 

Inflight  Motion   Pictures 

Sound  Track 

IATSE  Local  Directory 

Oxberry  Animation  Process 

New  National  General  Theatre 


4 
6 
8 
9 
14 
16 


News    Notes  —  Technical    Hints  —  Miscellaneous    Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
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PUBLISHING  CO.  <2^t^K> 


International  Projectionist        October,  1964 


MONTHLY  CHAT 

CAN  YOU  TOP  THIS? 

Can  anybody  top  this? 

Projectionist  John  Stauffer  and  Exhibitor  John  Mar- 
tina of  the  Cinema  Theatre.  Rochester,  New  York,  are 
claiming  a  national  record  for  a  continuous  run  with  920 
performances  of  "Irma  La  Douce"  —  from  the  same 
release  print  with  never  a  break  and  no  need  to  replace 
the  original  leaders. 

Furthermore,  after  the  print  had  played  a  total  of 
179,054  admissions,  it  was  examined  by  experts  at  East- 
man Kodak  Company  in  Rochester  and  pronounced  good 
as  new  —  "still  suitable  for  use  in  a  first-run  theatre." 

The  United  Artists  release  was  an  imbibition  print 
made  by  Technicolor  on  Eastman  Fine  Grain  Release 
Positive.  Type  5307.  It  ran  for  nearly  51  weeks  starting 
in  June.  l963,  showing  twice  daily  and  four  times  on 
Saturdays  and  Sundays,  a  recognized  world-wide  record 
for  Irrriu. 

Experts'    Opinion 

The  da\  of  its  final  Cinema  showing  ("It  could  have 
run  well  over  a  year;  it  was  still  doing  business  when  we 
took  it  out."  said  Martina)  the  exhibitor  invited  a  team 
of  motion  picture  experts  from  Kodak  to  take  seats  in 
the   audience.   They    reported: 

"The  presentation  was  excellent  and  the  screen  image 
was  remarkably  free  from  dirt  and  abrasion." 

Subsequently,  the  print  was  examined  in  Kodak  lab- 
oratories where  it  was  reported  that  "the  release  could 
still  be  classified  as  a  new  print." 

The  moral  of  the  story  for  projectionists  is  clear.  It 
was  stated  this  way  in  the  Kodak  report  complimenting 
Mr.  Martina  and  Mr.  Stauffer: 

"The  performance  of  this  print  emphasizes  that  the 
life  of  a  motion-picture  print  is  more  frequently  limited 
by  accidental  damage  than  by  wear  alone. 

"When  a  print  is  run  on  equipment  in  reasonable 
repair  and  adjustment,  handled  in  areas  that  are  moder- 
ate^ clean  and  demonstrate  good  housekeeping,  and  used 
with  reasonable  regard  for  good  practices,  the  life  may 
be  startling!)   long. 

Reduced    Perforation    Life 

"On  the  other  hand,  perforation  life  may  be  reduced 
drastically  by  inadequate  lubrication,  worn  sprockets, 
misalignment,  etc.  Image  quality  may  be  degraded  rap- 
idly by  letting  the  film  flop  into  dirty  areas,  acquiring 
dust  that  can  scratch  the  image,  running  it  against  dirt 
and  misaligned  projector  or  rewind  components  and 
handling  at  improper  tensions  so  that  cinching  is  fre- 
quent. 

"General  performance  may  be  degraded  by  careless 
cueing,  inattention  to  lighting  trim,  sloppy  splicing  and 
repair." 

That  John  Stauffer  has  a  high  regard  for  good  prac- 
tices is  amply  demonstrated  by  the  record  run  of  "hmd" 
in  his  theatre.  When  this  was  mentioned  to  his  boss, 
John  Martina's  reaction  was  prompt  and  to  the  point: 
"Doesn't   everybody?"    Does    everybody?  iP 

3 


Volume  39 


INTERNATIONAL  PROJECTIONIST 


October   1964 


Number  10 


Human  and  Mechanical  .  .  . 


Film  Mutilators  Still  at  Large 


by   L.   A.    Pierre 


In  spite  of  the  extensive  changes  that  have  taken  place  in  our  industrv 
there  are  still  many  contributors  to  film  damage  in  the  mechanical  department. 
One  is  improper  magazine  alignment.  If  the  film  tends  to  twist  as  it  leaves 
the  upper  reel  or  leaves  the  sound  head,  the  magazine  needs  adjusting.  Dam 
age  from  this  source  will  appear,  after  long  run.  as  checked  or  broken  sprocket 
holes — which  in  time  will  lead  to  trouble. 

Another  cause  of  film  damage  is  ~ 
improper  tension  on  reels.  The  upper 
reel  tension  should  be  onlv  sufficient 
to  restrain  the  film.  The  takeup  reel 
snould  have  onlv  sufficient  tension 
to  start  a  full  reel  of  film.  Any  ad- 
ditional tension  will  shorten  the 
film's  life.  If  the  film  "sings"  on 
either  the  pulldown  or  the  holdback 
sprocket,  check  first  for  misalign- 
ment or  excessive  tension. 

Film  sing  might  also  be 
caused  by  badly  worn  sprockets,  par- 
ticularly upper  and  lower.  All  sprock- 
ets should  be  carefully  checked  with 
a  magnifying  glass  at  regular  inter- 
vals for  wear  or  hook,  and  replaced 
if  visibly  worn.  It  is  inconceivable 
that    some    theatres    may    not    have 


converted  to  narrow  (Fox)  sprock- 
ets —  in  which  case  excessive  dam- 
age to  the  film  will  be  caused.  All 
equipment  —  splicers,  footage  coun- 
ters, etc.  —  should  have  narrow 
sprockets. 

A  greater  source  of  film  strain  is 
created  at  the  aperture  than  might 
be  suspected.  Better  than  four  tons 
of  pressure  are  exerted  by  the  in- 
termittent sprocket  per  hour,  with 
tension  at  a  safe  minimum.  The  ad- 
dition of  one  unnecessary  ounce  to 
aperture  tension  would  add  more 
than  500  pounds  per  hour  to  film 
and  equipment  wear.  Equipment  pro- 
vided with  adjustable  tension  should 
be  maintained  at  a  minimum  possible 


to  avoid  picture  slippage  at  the  aper- 
ture, which  would  appear  as  picture 
jump.  A  maximum  of  one  pound 
pull-down  pressure  should  be  ade 
quate  for  any  film.  If  there  are  stiil 
in  use  projectors  without  tension 
adjusting,  a  method  of  testing  and 
adjusting  tension  can  be  provided 
upon  request.  A  clean  film  track  is 
of  utmost  importance  and  should  be 
checked   frequently. 

Magazine  fire  valve  rollers  are  a 
major  source  of  film  damage,  and 
should  be  inspected  regularly  to  see 
that  accumulated  lint  and  dirt  are 
not  preventing  their  unrestricted  op- 
eration. Where  they  are  not  readily 
accessible  for  cleaning,  a  short  piece 
of  film  pushed  through  behind  them 
will  usually  do  a  good  cleaning  job. 
A  piece  of  dental  floss  or  thread  can 
also  be  useful  in  removing  dirt  that 
may  be  hard  to  dislodge  at  the  roller 
ends. 

With  all  film  now  fire  resistant, 
fire  valve   rollers   could   well  be   re- 


Exomplc  of  extreme  film  abuse.  At  least  four 
artists  hove  contributed  their  efforts.  The  small 
scratch  in  the  upper  right  hand  corner  should 
hove  been  sufficient  for  all  but  no,  some  one 
hand  scribed  the  circular  marks.  The  large 
china  marker  XXX  could  not  have  been 
missed  by  anyone  but  obviously  the  fellow 
who    added    the    lines    thought    not.    The    lines 


i 


■ 


i 

I* 

>  - 


continue  thorugh  17  frames  of  picture.  It  ap- 
pears to  be  cue  marker  made.  The  large  circle 
a  hond  in  this  work.  The  one  small  circle  ap- 
pears tc  be  cue  marker  made.  The  large  circle 
is  very  evidently  hand  scribed.  The  scratches 
ore  completely  uncalled  for.  This  pattern  con- 
tinued through  the  entire  feature  even  on 
fade  outs. 


This  splice  is  unique.  Some  operator  has  cat 
the  film  just  short  of  meeting  then  cropped 
all  cornets.  A  white  piece  of  blan-c  film  two 
sprockets  long  with  all  corners  rounded  is  then 
cemented  to  the  back  of  the  film  ends.  It  went 
through  the  machine  okey  but  with  a  grand 
clatter 


4 


International  Projectionist        OctJj 


1961 


1     oN 
U31IVH1 


133d 


These  two  film  samples  show  pro 
ducer's  mutilation.  The  one  with 
printing  on  the  sound  track  was  from 
a  trailer  but  it  is  not  uncommon  to 
any  subject  and  is  not  pleasant  when 
reproduced  on  the  sound  system.  The 
other  is  an  extract  from  a  first  run 
picture  and  occured  at  about  one 
foot   from    the    regular   sound    start. 


duced  to  guide  purposes.  For  thai 
matter,  there  is  no  reason  wh\  the 
enclosed  magazines  could  not  be  re- 
duced to  a  piopei  l\  supported  shaft 
such  as  is  generally  used  on  16mm 
equipment. 

Excessive  oil  on  the  equipment  or 

an)  place  the  film  ma)  contact  can 
also  contribute  to  film  damage.  \l! 
areas  the  film  ma)  contact  should 
be  kept  clean  and  oil   free. 

Rewinds,  too.  ma)  contribute  to 
film  damage.  It  is  necessar)  that  both 
heads  be  in  true  alignment  to  avoid 
the  film's  rubbing  reel  sides  during 
rewinding.  Enclosed  rewinds  ar^ 
prett)  much  immune  to  misalign- 
ment. Rewind  speed  also  deserve:- 
attention.  Onl)  in  case  of  inspection 
or  program  makeup  should  less  than 
five  minutes  per  double  reel  rewind 
time  be  tolerated,  and  then  onl)  un- 
der constant  observation.  The  faster 
the  film  is  whipped  past  the  reel 
edges   the   more   damage   can    result. 

Having  touched  on  most  of  the 
sources  of  mechanical  film  damage- 
let's  check  on  the  human  element. 
Fortunately,  most  projectionists  en- 
deavor to  avoid  inflicting  damage  to 
the  film  either  mechanical  or  per- 
sonal. Not  all  those  entrusted  with 
the  fragile  strip  of  entertainment 
which  is  our  livlihood  have  such 
scruples.  Marking  subsequent  reel 
ends  by  any  means  for  any  reason 
except  that  the  producers  have  faile  1 
to  properly  install  standard  cue 
marks  that  can  be  clearlv  seen,  is 
deliberate  film  mutilation.  If.  how- 
ever, the  producer  has  failed  to  mark 
reel  ends  clearly,  every  effort  should 
be  made  to  locate  the  original  mark- 
ings. Then,  with  a  marker  such  as 
"Clint     Phare,"     scribe     them.     Any 


other    marking,    punch,    scratch     or 
marking  pencil  is  mutilation. 

Subject  ends  are  quite  another 
thing.  The  variety  of  "signatures 
on  subject  ends  are  as  numerous  as 
the  film  butchers  who  handle  it.  It 
is  not  enough  that  some  previous 
"operator"  has  inscribed  the  film  end 
at  exactly  the  place  a  certain  cue  is 
desired.  Some  feel  compelled  to  add 
their  personal  moniker.  Some  sub- 
jects come  through  with  so  main 
curtain  cue  marks  it  is  impossible  to 
determine  which  one  is  accurate 
After  removing  a  variety  of  crayon 
marks,  one  recent  subject  still  was 
blessed  with  six  scratch,  punch  and 
scribe  marks  that  could  not  be  re- 
moved. 

Another  subject,  a  first  quality 
feature,  had  three  superimposed 
markings  at  the  same  location,  huge 
WW  maik<  in  red  china  marking 
pencil,  scribed  cue  marks  and  — 
worst  of  all  —  several  wa\\  crayon 
markings  continuing  through  1  7 
frames  of  the  film.  To  say  that  this 
was  striking  on  a  light  black  and 
white  scene  is  putting  it  mildly. 

A  second  screening  of  such  film 
mutilation  should  be  grounds  for  dis- 
charge without  notice.  There  is  no 
excuse  for  exposing  the  customers  to 
such  abuse  even  once  —  but  there 
sometimes  is  not  sufficient  makeup 
time  to  thoroughly  check  the  new 
pro- ram. 

Click  patches  are  another  means 
of  film  mutilation  practiced  by  too 
man)  men  in  the  booth.  True.  the) 
are  not  exposed  to  the  public,  and  do 
no  particular  damage  to  the  film. 
The  fault  in  this  practice  is  that 
there  are  materials  used  for  this 
purpose  which  leave  an  adhesive  gum 
on  the  film  when  patches  are  re- 
moved or  wear  off  that  is  next  to 
impossible  to  remove.  If  click  patch- 
es of  a  material  which  can  easily 
and  completer)  removed  are  used, 
this  is  the  least  objectionable  means 
of  personal  cue  markings.  The  "op- 
erator" who  recently  returned  for 
circulation  a  print  with  two  splices 
at  four  frame  intervals  at  both  motof 
start  and  changeover  position  was 
carrying  a  privilege  a  bit  too  far. 

In  summation;  no  projectionist 
has  a  right  to  put  anv  markings  of 
any  kind  on  any  film  at  any  time, 
except  to  brighten  up  standard  cue 
marks  with  an  approved  cue  marker. 
If  he  finds  it  impossible  to  present  a 
show  without  some  additional  visible 
marking  —  and  if  his  boss  will  per 
mit  such  abuse  —  he  owes  it  to  his 


Please  turn  to  page  6 


Get  all  the  facts!  Ask  your  equip- 
ment dealer  for  the  new  1964 
Kollmorgen  Projection  Lens  Cata- 
log or  write  us  direct. 

kTkollmorgen 

CORPORATION' 

NORTHAMPTON.   MASSACHUSETTS 


International  Projectionist         October,  1964 


Inflight  Motion  Pictures 
Marks  Third  Anniversary 

On  Sunday,  August  16,  some  4,000  persons  took  in  a  movie— a  big  screen, 
full  color  production. 

The  remarkable  point  about  this  otherwise  unremarkable  event  is  that 
these  movie-viewers  were  passengers  in  flight  aboard  50  Trans  World  Airlines 
jetliners  on  air  routes  over  four  continents  and  one  ocean. 

tional  routes  after  a  brief  schedule 
of  showings  on  domestic  flights.  The 
movie-equipped  aircraft  were  trans- 
ferred back  to  the  international  fleet. 
For  the  first  two  years,  Inflight  mov- 
ies were  shown  only  in  first-class  on 
trans-Atlantic  routes  between  New 
York  and  London,  Paris,  Madrid, 
Frankfurt  and  Rome;  later  on  flights 
direct  to  Europ  e  from  the  Wesc 
Coast  and  flights  originating  at 
Chicago. 


And  although  most  passengers 
probably  didn't  think  of  it  as  they 
saw  the  Oscar- Winning  "Tom  Jones" 
"The  Chalk  Garden"  and  other  top 
films,  they  helped  mark  the  third 
anniversary  of  the  introduction  of 
Inflight  Motion  Pictures,  the  inter- 
nationally known  feature  of  TWA's 
passenger  services. 

Three  years  ago,  when  TWA  be- 
came the  first  airline  to  offer  in- 
flight entertainment  to  its  passenger?, 
a  total  of  eight  flights  were  equipped 
to  show  one  film  to  a  total  of  about 
100  first-class  passengers. 

Today,  all  passengers,  economy  as 
well  as  first-class,  on  all  TWA  trans- 
Atlantic  and  international  flights, 
and  on  all  trans-continental  nonstop 
StarStream  flights  in  the  United 
States,  have  the  opportunity  to  at- 
tend a  movie  in  flight.  Last  month 
TWA  lanunched  the  first  of  its  movie 
flights  from  Chicago  to  the  West 
Coast. 

In  all,  more  than  21.000  film 
showings  have  been  seen  by  TWA 
passengers  in  the  three-year  period 
— a  little  more  than  3,000  the  first 
year,  5,000  the  second,  and  13,000 
in  the  past  year.  Currently,  movies 
are  being  shown  1,500  times  each 
month  over  the  entire  TWA  system 
which  covers  Europe,  North  Africa 
and  the  Near  and  Middle  East  as  far 
as  Bombay,  as  well  as  the  United 
States. 

Inflight  movies  can  be  shown  with 
the  cabin  fully  lit  without  interfer- 
ing with  any  other  airborne  service. 
The  earsets  can  be  worn  comfortably 
during  dining. 

Anniversary  film  fare  on  August 
16  for  the  TWA's  domestic  passen- 
gers include  such  other  full-color 
films  as  Alfred  Hitchcock's  "Mar- 
nie"  the  wide  -  screen  comedies 
"What  a  Way  to  Go"  and  "Move 
Over  Darling"  and  the  widely-her- 
alded Tennessee  Williams  "Night  of 
the  Iguana." 

Trans-Atlantic  passengers  saw  the 
Jack  Lemmon-Romy  Schneider  com- 
edy "Good  Neighbor  Sam"  and  "The 
Chalk  Garden,"  both  in  color. 

TWA  launched  regular  showings 
of    Inflight    movies    on    its    interna- 


In  May  1963,  TWA  extended  the 
movie  service  to  the  economy  class 
cabins  of  international  flights.  In 
August  1963,  with  more  new  Boeing 
StarStream  equipment  added  to  its 
fleet,  TWA  began  showing  Inflight 
movies  in  first  class  cabins  on  non- 
stop transcontinental  flights,  extend- 
ing the  feature  to  the  coach  cabins 
last  April  ( 1964) . 

During  the  36  months  of  its  oper- 
ations. Inflight  has  presented  156 
top  motion  picture  attractions,  at  the 
rate  of  one  new  film  a  week,  on  the 
TWA  system.  Of  thes^,  101  or  65 
per  cent  were  in  full  color.  Sixty-four 
were  shown  in  the  full  wide-screen 
aspect  ratios  of  Cinemascope  and 
Panavision. 

Inflight  Motion  Pictures,  Inc.,  is 
the  culmination  of  five  years  of  ex 
perimentation  by  its  president,  David 
Flexer,  a  theatreman  from  Memphis. 
Tennessee,  who  poured  over  a  mil- 
lion dollars  into  developing  the  fully 
automatic,  unattended  and  totally 
safe-guarded  projection  system.  It  be- 
came airborne  with  the  cooperation 
of  TWA,  who  provided  the  first  fa- 
cilities for  experimentation  and  test- 
ing in  the  sky. 

The  projection  system  is  compara- 
ble to  the  best  deluxe  theatre  pre- 
sentations, maintaining  full  values  of 
color,  screen  size  and  sound.  Feather 
weight  earsets  deliver  the  dialogue, 
music  and  sound  effects  to  the  indi- 
vidual passengers,  so  that  others  are 
not  disturbed.  Without  sound,  the 
screen,  placed  far  forward  in  the 
cabin,  is  not  distracting  to  anyone, 
reading,  sleeping,  or  otherwise  oc- 
cupied. iP 


Film   Mulitarors 

Continued  from  page  5 
profession  to  remove  his  trademark 
before  he  foists  it  on  the  next 
Brother. 

Splicing  can  be  a  source  of  trouble 
and  if  poorly  done  is  a  form  of 
mutilation.  Improper  splices  can 
cause  the  picture  to  jump;  weak- 
splices  may  hold  through  the  maker's 
run,  but  part  at  the  next  showing. 

In  the  early  days,  it  was  regular 
procedure  to  run  the  end  of  the  film 
over  the  tongue  to  moisten  the  emul- 
sion, give  it  a  swipe  or  two  with  a 
razor  blade  or  pocket  knife,  then 
holding  the  two  ends  between  thumb 
and  fingers  flow  cement  thru  the 
joint  for  a  very  acceptable  splice. 
Today's  film  is  quite  another  thing. 
A  good  splice  is  pretty  much  a  work 
of  art.  A  firm,  smooth,  lasting  splice 
combines  these  elements:  a  good  film 
cement  that  will  not  wrinkle  film,  a 
piece  of  80  grit  production  sand  pa- 
per cut  l/2  to  %"  wide  and  about 
W2  l°ng,  and  a  good  film  splicer. 
Do  not  wet  the  emulsion.  With  the 
film  in  place  in  the  splicer,  fold  the 
sand  paper  once,  and  using  the  edge 
against  the  clamping  finger,  remove 
the  emulsion.  Then  reverse  the  hands 
and  remove  the  gloss  from  the  other 
end  film  back.  Apply  cement  gener- 
ously, close  the  splicer  for  about 
three  seconds,  open  splicer  and  firm- 
ly rub  off  surplus  cement  with  a 
cloth  or  paper.  Remove  the  film 
from  the  splicer  and  again  rub  off 
any  surplus  cement.  This  entire  pro- 
cess will  require  about  ten  seconds, 
but  must  be  developed  in  accordance 
with  conditions  and  speed  of  the  ce- 
ment. A  splice  properly  made  fol- 
lowing the  above  procedure  will  out- 
last the  film.  iP 

West-  Coast-  Mourns 
Cappy  DuVal,  IATSE 
Business  Representative 

Funeral  services  for  B.  C.  "Cappy" 
DuVal,  International  Representative 
of  the  IATSE,  were  held  September 
26  at  Our  Savior  Lutheran  Church 
in  Los  Angeles,  Calif. 

DuVal  died  suddenly  and  unex- 
pectedly of  a  heart  attack  at  his 
home  in   Inglewood,  Calif. 

A  member  of  Hollywood  Property 
Craftsmen's  Local  44  since  1923,  he 
served  it  as  Business  Representative 
for  many  years  prior  to  joining  the 
staff  of  the  International  union  sev- 
eral years  ago.  At  the  time  of  his 
death,  he  was  connected  with  the 
lATSE's  West  Coast  office.  He 
served  also  as  a  delegate  to  the  Los 
Angeles  Central  Labor  Council. 

Since  1926,  he  had  been  a  mem- 
ber also  of  Chicago  Stage  Employes 
Local  No.  2.  iP 


International  Projectionist        October,  1964 


As  a  young  fellow  of 
19  I  remember  that 
Dad  operated  a  1926 
Strong  Standard  low 
intensity  arc  lamp. 


When  I  started  oper- 
ating in  1928  1  had 
the  Strong  U\-Lo. 


Five  years  later,  in 
1933. 1  ordered  Strong 
Moguls. 


When  in  1949  the 
Strong  Mighty  90  was 
announced  1  bought  a 
pair  of  the  first  ones 

available. 


1  believe  that  if  any- 
one wants  to  make 
money  in  show  busi- 
ness he  must  keep  up 
with  the  times,  so  last 
month  I  installed  new 
Strong  Futuras.  I 
know  that  it  pays,  be- 
cause my  box  office 
reports  prove  it. 


•tGetU* 


&»****—  THE  ^b"&  ELECTRIC  CORPORATION 

^f%     CITY  PARK  AVE.,  TOLEDO,  OHIO  43601     •     PHONE:  (419)  248-3741 


International  Projectionist         October.  1964 


Sound  Track 


by  J.  G.  Jackson 


Cinemascope  and  Wide  Screen 
have  for  the  past  ten  years  been 
going  through  a  period  of  adjust- 
ment, with  each  settling  down  to  its 
own  aspect  ration. 

In  most  theatres  the  Cinemascope 
picture  is  only  a  very  few  feet  wider 
than  the  flat  wide  screen.  In  some, 
the  depth  is  exactly  the  same  for 
both  Scope  and  Flat.  Where  there  is 
a  difference?  It  is  only  a  matter  of 
inches,  so  what's  the  percentage? 
How  much  better  is  Scope  than  Wide 
Screen,   if  at  all? 

Not  more  than  one  percent  of  the 
theatre  patrons  know  the  difference 
between  Cinemascope  and  Wide 
Screen.  Furthermore  not  one  of  them 
give  a  hoot  whether  the  picture  is  in 
Scope  or  Wide  Screen.  I  doubt  if 
any  customer  buys  a  ticket  to  see  a 
show  just  because  it's  in  Scope. 
Let's  face  it,  it  is  the  story  that 
brings  the  patrons  to  the  box  office, 
the  Gimmick  called  Aspect  Ratio 
has  lost  its  appeal,  if  it  ever  had 
any. 

I  am  not  going  to  argue  which  is 
better,  but  I  do  think  it  is  high  time 
the  industry  accepted  one  or  the  oth- 
er as  a  standard  and  make  all  release 
prints  accordingly.  Ten  years  of 
teething  should  be  sufficient  for  the 
industry  to  arrive  at  a  point  of  stan- 
dardization. 

Such  a  move  would  eliminate  all 
the  confusion  of  changing  lenses,  ap- 
ertures and  screen  maskings  count- 
less times  during  a  show.  All  of 
which  does  nothing  to  sell  tickets 
at  the  box  office. 

I  would  like  to  hear  from  readers 
as  to  what  they  think  would  be  best 
to  accept  as  a  standard. 

Dear  J.  G.: 

Regarding  curtain-cues  —  I  al- 
ways use  a  red  pencil  to  put  them 
on  and  I  rub  it  off  when  I  ship  out. 
The  so  called  Kid  and  Drive  In  op- 
erators in  some  places  in  N.C.  and 
S.C.  are  doing  most  of  the  change 
over  cue  damage. 

Ernest    Tipton 
Gastonia,  N.  C. 

Dear  J.G.: 

First,  let  me  say  that  I  am  very 
happy  to  see  an  article  such  as  yours 
back  in  the  I. P.  I  feel  that  manv 
projectionists  enjoyed  an  article  that 
was  opened  to  comment.  I  know  my- 
self  that   1   profited   from   the   ideas 

8 


and   comments   that    I    have   read   in 
the  past. 

In  answer  to  your  comment  in  the 
last  (May)  issue  of  LP.  I  would  like 
to  express  my  sentiments. 

If  the  exchanges  did  cue  the  end 
of  a  feature  for  curtain  it  would 
certainly  cut  down  on  what  I  call 
mutilating  of  film.  However,  I  don't 
think  this  mutilating  of  film  will  ever 
end.  Fortunately,  I  have  never  been 
employed  in  a  theatre  with  this  prob- 
lem, but  they  must  exist.  These  the- 
atres are  using  undersized  apertures 
for  their  anamorphic  prints.  Appar- 
ently these  apertures  are  so  small 
that  the  cue  marks  will  be  blocked 
from  the  screen.  If  these  fellows 
would  use  a  crayon  or  something  that 
can  be  erased  from  the  film  after 
their  use,  it  would  certainly  be  ap- 
preciated by  a  great  many  in  the 
craft.  However  there  are  a  certain 
few  that  scratch  the  film  from  the 
cue  in,  thus  enabling  them  to  make 
a  change-over.  More  than  once  I 
have  cut  these  scratches  out  of  an 
entire  feature  and  then  re-cued  it 
One,  a  real  artist  had  the  letter  "R" 
scratched  inside  the  cue  marks.  Who- 
ever he  may  be  he  doesn't  belong  in  a 
projection  room.  If  some  of  these 
fellows  who  have  a  very  small  aper- 
ture would  please  use  a  crayon  in- 
stead of  scratching  the  film  it  would 
certainly  be  appreciated  by  a  great 
number  of  projectionists. 

James  Bursey 
West  Palm  Beach,  Fla. 


Dear  J.  G.: 

Your  column  in  LP.  May  1964 
was  very  good.  We  could  certainly 
use  a  curtain  cue  and  yours  is  a 
good  suggestion.  As  for  the  change 
over  cues,  why  the  heck  don't  the 
operators  just  leave  the  prints  alone 
without  punching  holes,  scratches, 
etc.  They  are  all  right  just  as  they 
are. 

Lawrence  Scheverer 
New  York 
Dear  J.  G.: 

As  a  regular  reader  of  LP.,  may 
I  congratulate  you  on  "Sound 
Track."  It  will  allow  conscientious 
Projectionists  to  contribute  their 
ideas  with  the  view  of  reaching  an 
ultimate  in  projection  standard 
throughout  our  industry  and  by  so 
doing,  adding  to  the  enjoyment  of 
that  most  important  individual,  the 
Patron. 

Every    theatre    has    different    cur- 

Address  your  cards  and  let- 
ters to  Sound  Track,  1645 
Hennepin  Ave.,  Minnea- 
polis, Minn.,  55403. 


Dupage  Automatic  Dry 
Splicer  Now  in  16mm 

An  easy  to  use  motion  picture 
splicer,  that  splices  and  tapes  both 
sides  of  your  film  at  once,  is  now 
available  in  16mm  as  well  as  8mm 
models. 

Designed  for  color  and  black  and 
white  film  (sound  or  silent),  these 
DuPage  splicers  combine  three 
features  to  make  splicing  faster  and 
better.  Special  strong,  thin,  film- 
backed  tape  is  dispensed  by  a  roll 
built    right    into    the    splicer. 

The  new  16mm  all  metal  die  cast 
model  is  $12.95.  8mm  models 
range  from  $4.95  to  $7.95.  (For 
additional  information  write  DuPage 
Products.  Box  295,  Lombard,  111. 
Request  folder  No.  S-7). 


Pictured  above  is  the  DuPage  Auto- 
matic Dry  Splicer,  available  in  both 
16   &   8mm  sizes. 

tain  speeds,  and  —  as  found  in  Mel- 
bourne (Australia)  —  times  range 
from  30  seconds  down  to  10  seconds 
closing  time. 

Because  of  these  variations,  these 
are  my  suggestions  for  a  cueing  sys- 
tem compatible  to  all  requirements — 

1.  "The  End"  titles  to  be  made  to 
a  standard  30  second  length,  where 
there  is  no  cast-titling. 

2.  A  series  of  inconspicuous  count 
down  numbers  at  5  second  intervals 
be  printed  in  the  top  right  corner 
starting  at  25  seconds,  then  20,  15 
and  10  seconds  from  the  end.  These 
numbers  should  be  printed  on  simi- 
larly to  the  framing  guide  lines  or- 
iginally printed  onto  the  start  of 
spools  on  Vistavision  prints  which 
went  unnoticed  to  the  general  patron. 

This  should  give  plenty  of  latitude 
for  any  theatre  anywhere  and  help 
in  eliminating  the  most  annoying  mu- 
tilation of  curtain  cueing. 

You  may  recall  that  big  M.G.M. 
productions  such  as  "King  of  Kings'', 
"Mutiny  on  the  Bounty",  and  "Ben 
Hur",  bad  very  long  end  and  Inter- 
mission titles,  about  the  length  which 
has  been  suggested. 
Clayton,  Victoria,   Australia 

B.  A.  Quigley 

International  Projectionist        October,  1964 


IATSE  DIRECTORY 

Names  and  Addresses  of  Mixed 
Local  Secretaries  and  Business  Agents 


ALABAMA 

92  MONTGOMERY  -  Li  Hard  T.  Farris. 
Sr..  P.  0.  Box  203.  Zone  1.  Tele.:  118 
Truett  Drive.  Bus.  Agt.:  Lillard  T. 
Farris.    Sr. 

413  GADSOEN  -  ).  E.  Forman.  P.  0. 
Box  441.  Tele.:  2424  Scenic  Highway. 
Bus.  Agt.:  Lewis  L.  Smith,  230  S.  6th 
St..   Apt.    10-A. 

506  ANNISTON  — George  W.  McGuire. 
P.  0.  Box  421.  Tele.:  715  E.  22nd  St. 
36201.  Bus.  Agt.:  Leonard  H.  Gunn, 
834   E.   22nd   St.   36201. 

537  JASPER  —  Harry  P.  Smith,  P  0 
Box  1026.  Tele.:  Rt.  6.  Cullman.  Bus. 
Agt.:  Clarence  C.  Hamrick.  P.  0.  Box 
1026 

547  FLORENCE,  SHEFFIELD  and  TUS- 
CUMBIA  —  J.  M.  Stutts.  P.  0.  Box  547, 
Sheffield.  Tele.:  1400  25th  St..  Shef- 
field.    Bus.    A«t:    J.    M.    Stutts 

553  DECATUR  —  Graly  Kirby.  P  0 
Box  1121.  Albany  St.  Tele.:  1801  Wads- 
"Orth  St..  S.  E.  Bus.  Aet.:  Hugh  W. 
Terry,   612  Thirl   Ave.,   S    W 

793  HUNTSVILLE  -  Charter  revoke! 
Road  men  contact  Ben  R.  Nation,  6302 
Madison    Pike,    N.    W. 

806  TUSCALOOSA    —    Earl    Ford,    P     0 
eox  851.  Tele.:  2303   16th  St.  Bus.  Agt  : 
S    W.   Kent.    54   Cedar   Knoll. 
ARIZONA 

415  TUCSON  -  William  D.  Traweek, 
3714  S.  Lundy  Ave.  Bus.  Agt.:  Ronald 
McCarty,    2213    N.    Belvedere    Ave 

569  DOUGLAS  -  Tom  C.  Millican, 
Rt.  1.  Box  67.  McNeal.  Bus.  Agt.:  G.  M 
Gray.    1300   8th    St. 

731  PRESCOn    -    C.    D.    Born,    P.    0 
Box    1106.    Tele.:    212    No.    Mt.    Vernon 
St     Bus.    Agt.:    C.    D.    Born. 
ARKANSAS 

204  LITTLE      ROCK-Jack     Schoemaker, 
2.25    McAlmont    St..     72206.     Bus.    Agt  • 
•    S-hoemaker. 

326  HOT  SPRINGS-Rufus  D.  MrMoran, 
P  0.  Box  64.  Tele.:  1607  St.  Louis.  Bus 
Agt.:   James  T.   Mosley,  Rt.  6,  Box  319-A 

328  PINE  PLUFF-Everett  J.  Stanley, 
1606  W.  18th  Ave.  Bus.  Agt.:  Herman 
Zaooe,    1417W   Olive   St 

455  FORT  SMITH-Nicholas  Kolb,  P  0 
Box  271.  Tele.:  2205  South  "N"  St.  Bus 
Agt.:    Gene    Woods.    3921    S     West    St 

817  FAYETTEVILLE  -  Roy  Williams. 
P  0.  Box  711  Tele.:  P.  0.  Box  500.  Bus 
Agt.:  Harold  L.  Bausinger,  Rt.  1.  Box  296 
Spring^le 

826  CAMDEN  -  Troy  S.  Carver,  512 
ackson  St.  Bus.  Agt.:  j.  L.  Wilson, 
1321     Rowald    Drive. 

CALIFORNIA 

215  BAKERSFIELD  -  William  Romley, 
P.  0.  Box  555.  Tele.:  2407  Driller 
Ave.  8us.  Agt.:  Don  Marshall,  2813  Berger 

216  MARYSVILLE-Everett  Reid  1310 
Buchanan  St.  Bus.  Agt.:  Ben  J.  Rose 
890    Jones    St..    Yuba    City. 

241  VALLEJO-Edward  R.  Boyle,  1960 
Evergreen  Ave.,  Antioch.  Bus.  Agt  • 
Daniel    W.    Akin.    102    Ciaremont    Ave 

<M  SAN     MATEO     COUNTY     and     PALO 
ALTO— Richard  Rhodes,  2303  Wooster  Ave 
Belmont.    Bus.    Agt.:    John   Turturici,   270 
Chestnut   St.,   San   Carlos. 

420  SANTA  ROSA  -  Charles  Bauman, 
P.  0.  Box  474.  Tele.:  752  Pine  St.  Bus 
Agt.:    Charles    Bauman. 

430  EUREKA  -  Leon  H.  Thomson,  226 
Randolph  Way,  Fortuna.  Bus.  Agt  •  Harrv 
Bishop,   1414  Hays  St. 

442  SANTA  BARBARA  -  John  H.  Got- 
chel,  P.  0.  Box  413.  Tele.:  304  Samark- 
and Drive.  W.  H.  LeCompte,  545 
Alan   Road. 

501  CHICO  -  M.  E.  Maxwell,  276 
E  6th  Ave.  Bus.  Agt.:  M.  E.  Maxwell. 
,504  SANTA  ANA  -  George  M.  Hiam, 
-3801  Howard  Circle.  Garden  Grove.  Bus 
Agt.:  Frank  Owen  Smith,  231  Evergreen 
St..  Anaheim. 

560  RICHMOND  —  Charles  W.  Glum 
P.  0.  Box  1043.  Tele.:  658  33rd  St. 
Bus.  Agt.:  Sam  Jagard.  5300  Barrett  Ave. 

564  MOOFSTO  -  Charles  C.  White 
1675  Union  Ave.,  Merced  95340.  Bus 
Agt.:    Ervm    Fetzer,    525    Millo    St. 

605  VISALIA.  PORTERVILLE,  TULARE 
HANFCRD.  CORCORAN,  LINDSAY,  Dl- 
NUBA  —  Frank  Price.  P.  0.  Box  281 
Visaha.  Tele.:  2608  S.  Watson,  Visalia 
■us.  Agt:  Albert  M.  Cox,  512  W. 
irshen,    Visalia. 


611  WATSONVILLE.  SANTA  CRUZ,  SA- 
LINAS. GILROY,  HOLLISTER,  MONTE- 
REY. CARMEL.  PACIFIC  GROVE  and 
SEASIDE  —  Stan  Dietrich.  P.  0.  Box 
584,  Watsonville.  Tele.:  44-D  Crest  Drive, 
Watsonville.  Bus.  Agt.:  James  Wilson, 
228   Peyton   St.   Santa  Cruz. 

656  EL  CENTRO  —  Paul  R.  Steward, 
P.  0.  Box  615.  Tele.:  843  Woodward 
St.  Bus.  Agt.:  Norman  Morris,  1283  El 
Dorado    St. 

707  HFMET  -  Derek  H.  Parker,  P  0 
Box  481.  Riverside  92502.  Tele.:  4275 
Elmwool  Court.  Riverside.  Bus.  Agt.: 
Daniel  Weisberg,  408  25  Brookside  Ave., 
Bea"mont 

709  VENTURA  COUNTY  -  Edwin  E. 
Griffith,  P.  0.  Box  811.  Santa  Paula. 
Tele.:  1243  Newman  St..  Simi.  Bus.  Agt.: 
Willis  Anderson,  438  W.  Wooley  Rd., 
0>nard. 

730  BARSTOW  -  Rudy  Trotter,  1290 
Flora  Ave.  Bus.  Agt.:  Charles  A.  Hall, 
38714    Larkin    Ave..    Palmdale. 

739  REDDING  -  Jerry  Q.  McGee.  289 
Weldon    St.    Bus.    Agt.:    Jerry    Q.    McGee. 

762  SAN  LUIS  OBISPO  -  W.  Young 
Lewis,  P.  0.  Box  691,  Zip  93402.  Tele.: 
351'  Lincoln  Ave.  Bus.  Agt.:  Lloyd  E. 
Berry,  214  Esparto  Ave.,  Shell  Beach 
93462. 

796  SUNNYVALE.  MOUNTAIN  VIEW, 
LOS  ALTOS,  CAMPBELL,  LOS  GATOS  — 
Thomas  G.  Bracking,  693  Salberg  Ave., 
Santa  Clara.  Bus.  Agt.:  Eugene  Schloem- 
e;.  681  Clara  Vista,  Santa  Clara. 

811  MARIN  COUNTY  —  George  H.  Whit- 
ten.  Box  353,  Novato.  Tele.:  1141  Mira- 
bella  Ave.,  Novato.  Bus.  Agt.:  0.  L. 
Woodall,   8   Hacienda   Ct.,    San   Rafael. 

CANADA 

105  LONDON.  Ont.— John  McCully,  33 
Dennis  Ave.,  Lambeth,  Ont.  Bus.  Agt.: 
Walter  Drennan,    106  Price  St. 

295  REGINA,  Sask.  -Jack  Garvey,  1001 
10th  Ave.,  E.  Bus.  Agt.:  Roy  A.  Thorn, 
1928    Athol     St. 

300  SASKATOON,  Sask.  Ben  Waldron, 
804  8th  St..  E.  Bus.  Agt.:  Robert  Cor- 
rigal,   1002  7th  S.   E. 

345  BROCKVILLE.  Ont.  G.  A.  Wood, 
44  Ann  St.  Bus.  Agt.:  C.  J.  Ford,  35 
Jessie    St. 

357  KITCHENER.  STRATFORD,  GALT, 
and  GUELPH,  Ont.  —  J.  Hoodless,  196 
Duke  St..  East,  Kitchener.  Bus.  Agt.: 
Douglas    Linder,    32    Munroe    Ave. 

406  MOOSE  JAW.  Sask.-S.  D.  Stephen. 
1229  Redland  Ave.  Bus.  Agt.:  Norman 
Gamble.    421    Main    St.    S. 

432  PETERBOROUGH.  Ont.-John  O'Leary, 
192  Hunter,  Apt.  B.  Bus.  Agts.:  (S) 
Benjamin  Clute,  34  Jackson  Ave.  (0) 
Frederick  Cranham,  232  Hartley  St. 

435  SAULT  STE.  MARIE,  Ont.— G.  H. 
Stephen,  664  Queen  St.,  E.  Bus.  Agt: 
Harvey    Annett,    166    Stanley. 

438  SHERBROOKE,  Que.— Leopold  Dion, 
240   Court    St.,   Apt.    12. 

440  SAINT  JOHN,  N.  B.— Jas.  A.  White- 
bone,  P.  0.  Box  1045.  Tele.:  537  Ed- 
ward Ave.,  W.  Bus.  Agt:  Jas  A.  White- 
bone. 

461  ST.  CATHARINES,  Welland  Niag- 
ara Falls.  Ont— C.  A.  Dentelbeck,  536 
Carlton  St.,  East,  St.  Catharines,  Ont. 
Bus.  Agt.:  B.  McCullum,  9  Grapeview 
St..    St.    Catharines. 

467  FORT  WILLIAM  and  PORT  AR- 
THUR, Ont— P.  R.  Wright.  104  McKibbin 
St.,  Port  Arthur.  Bus.  Agt.:  William 
Gardiner,    P.    0.    Box   325,    Port   Arthur. 

523  QUEBEC,  Que.  —  George  Gingras, 
P  0.  Box  422.  Tele.:  1376  Gamier  St., 
Zone  6.  Bus.  Agt.:  Jules  Pacaud,  2266 
Choouette    Ave. 

528  KINGSTON  and  BELLEVILLE,  Ont. 
—Roy  Smith,  33  Westmorland  Rd.,  Kings- 
ton.   Bus.    Agt:    Roy    Smith. 

580  WINDSOR  and  CHATHAM,  Ont— 
lohn  B.  Sherwood,  R.  R.  2,  Maidstone, 
Ont.  8us.  Agt:  Walter  E.  Bennetie,  845 
Rutland  Rd.,  S.  S.  No.  1,  Tecumseh,  Ont. 

582  BRANTFORD,  Ont  —  Arthur  C. 
Roberts,  319  Nelson  St.  Bus.  Agt.:  E.  R. 
Pettifer.    52    Park    Rd. 

622  PORT  HURON.  Mich.,  and  SARNIA. 
Cnt     (See     Michigan). 

634  SUDBURY,  Ont— D.  E.  Tighe,  P.  0. 
Box  341.  Tele.:  1073  Hawthorne  Dr. 
Bus.  Agt:   A.  J.  Spalding,   12  Glover  Ave. 

699  KIRKLAND  LAKE  and  TIMMINS, 
Ont— Joseph  Scalzo,  Box  171,  Haileybury. 
Bus.  Agt:  Le  Roy  Jewell,  P.  0.  Box  547, 
New    Liskeard,    Ont. 


680  HALIFAX  -  OARTHMOUTH,      N.     S.— 

G  G.  Pring,  P.  0.  Box  711,  Halifax.  Tele.: 
51  Newcastle  St.,  Dartmouth.  Bus.  Agt.: 
G.   G.    Pring. 

848  SYDNEY -GLACE    BAY,    N.   S.   —   F. 
J.  McGuire,  49  Alexander  St.,  Glace  Bay. 
Bus.   Agt.:    F.   J.   McGuire. 
COLORADO 

62  COLORADO  SPRINGS  —  Ronald  W. 
AuBucon.  P.  0.  Box  522.  Tele.:  722  Bryce 
Drive.  Bus.  Agts.:  (0)  Jack  Armstrong, 
1432  Norwood;  (S)  Arthur  Johnson,  P.  0. 
Box    184.    Cascade. 

184  GREELEY  —  John  McCandless,  1311 
12th  Ave.  Bus.  Agt.:  Wallace  Sjoberg, 
1426  5th   St. 

229  FORT  COLLINS  —  Gerald  Elliott, 
1308  Pitkin  St.  Bus.  Aet.:  Gerald  Elliott. 

602  TRINIDAD  —  L.  R.  Guye,  P.  0.  Box 
355.  Tele.:  824  Pine  St..  Bus.  Agt:  Tony 
locabell.   1043  2nd  St.,  Las  Vegas,  N.  M. 

608  BOULDER  and  LONGMONT  —  J.H. 
Shephard,  P.  0.  Box  141.  Tele.:  845  Pearl 
St  Bus.  Agt.:  E.  C.  Caywood,  1810  Wal- 
nut   St. 

689  GRAND  JUNCTION  -  F.  E.  Grumpp, 
P.  0.  Box  484.  Tele.:  1127  Chipeta 
Ave.  Bus.  Agt:  Allan  H.  Wasson,  530 
Chioeta  Ave. 

736  LAJUNTA  -  Olin  R.  Fenter,  1023 
Raton  Ave.  Bus.  Agt:  Charles  0.  Sex- 
ton,   519   Colorado   Ave. 

CONNECTICUT 

301  NEW  BRITAIN  —  Edward  Regula, 
P  0  Box  852.  Tele.:  126  Clinton  St. 
Bus.  Agt:   Harry  Grischuk,  419  Myrtle  St 

304  WATERBIJRY  -  Abe  Fandiller,  219 
Cooke  St.,  Zone  10.  Bus.  Agt  i  Ralph 
Di  Pietro.  Marie  Hotchkiss  Rd.,  Prospect. 

350  MERIDEN  -  MIDDLETOWN  -  John 
T  McG'ew.  P.  0.  Box  463.  Tele.:  15  Fair 
St.    Bus.    Agt:    John    T.    McGlew. 

402  TORRINGTON  —  John  Navin,  59 
Lawndale  Ave.,  Bristol.  Zip  06010.  Bus. 
Agt:  Michael  Scanlon,  15  Lawton  St. 

439  NEW  LONOON— John  S.  Kane.  P. 
0.  Box  662.  Tele.:  48  Main  St.  Bus.  Agt: 
Fred  C.  Nowell,  23  Sunshine  Rd.,  Quaker 
Hill. 

449  STAMFORD.  GREENWICH  an  d 
DARIEN  -  Vincent  J.  Mitchell.  Jr.,  P. 
0.  Box  669,  Stamford.  Tele.:  75  W. 
Broad  St.  Bus.  Agt:  Kenneth  D'Andrea, 
104  McMullen  Ave..  Stamford. 

453  WILLIMANTIC-STORRS  -  Gerard  R. 
Lussier.  120  North  St.,  Willimantic 
0F226  Bus.  Agt.:  Otis  Fairbanks,  P.  0. 
Sox   203,   Willimantic. 

459  NORWICH  -  Raymond  C.  Lamothe, 
145  Ashland  St.,  Jewett  City.  Bus.  Agt: 
Charles  Oldham.   R.   F.   D.   4. 

479  NORWALK  -  Harry  M.  Johnson, 
P.  0.  Box  63.  Tele.:  County  St.  Bus. 
Agt:    George    Brazil.    5    Sherry    St. 

662  DANBURY  Felix    Tomaino,    P.    0. 

Box  986.  Tele.:  75  Franklin  St.  Bus.  Agt: 
Robert  L.  Mclntyre.  5  East  Pembroke 
Road. 

DISTRICT    OF    COLUMBIA 
224-A  WASHINGTON         William   D.   Wil- 
liams, 1834  Ninth  St.,   N.  W.  Tele.:   1260 
Talbert    St.,    S.    E.    Bus.    Agt:    Ralph    T. 
Dines,    510   Varnum   St,    N.   W. 

FLORIDA 

60  PENSACOLA  -  J.  S.  Bainter,  P.  0. 
Box  1084.  Tele.:  1304  N.  "T"  St.  Bus. 
Agt:  Lloyd  E.  Joyner,  105  Georgia  Drive, 
Oakcrest,   Pensacola. 

321  TAMPA  —  John  B.  Fette,  P  .0.  Box 
1463,  Zone  1.  Tele.:  1102  31st  Ave.,  Zone 
3.     Bus.    Agt.   9323   Dartmouth   Ave. 

360  GAINESVILLE  —  V.  F.  Snellgrove, 
722  N.  W.  8th  Place.  Bus.  Agt:  Tommy 
A     Ridgell.    1715   N.    W.    16th   Ave. 

412  BRADENTON  -  SARASOTA  —  Joe  E. 
Sanders,  P.  0.  Box  1073,  Bradenton. 
Tele.:  808  43rd  St.,  W.  Bradenton.  Bus. 
Agt.:  C.  E.  Manson,  2731  N.  Lemon 
Ave.,   Sarasota. 

552  ST.  PETERSBURG  —  Claude  R. 
Shorts.  P.  0.  Box  920,  Zone  1.  Tele.: 
8001  32nd  Ave.,  N.  Bus.  Agt:  Francis  L. 
Hill.    935   42nd   Ave.,    N. 

558  DAYTONA  BEACH  —  Nelson  Spock, 
P.  0.  Box  534.  Tele.:  822  Valencia  Rd. 
Bus.  Agt.:    M.   E.   Forsyth,   Tourist  Hotel. 

623  WEST  PALM  BEACH  -  James  A. 
Bursey,  1619  Julie  Tania  Drive.  Bus.  Agt.: 
R     J.    Allison,   437   Summa    St. 

631  ORLANDO,  CAPE  CANAVERAL,  CO- 
COA and  MELBOURNE  —  Richard  Gabel, 
P.  0.  Box  631.  Tele.:  207  S.  Hyer  St. 
Bus.   Agt:    Richard   Gabel   . 

643  LAKELAND  —  Frank  Walker,  P.  0. 
Box  612.  Tele.:  1056  South  Blvd.  Bus. 
Agt.:    Arthur    Bowden,    404    Palmola    Dr. 

646  FORT  LAUDERDALE,  BOCA  RATON, 
KALLANDALE,  HOLLYWOOD  —  Perry  Mc- 
Cune,  5607  N.  W.  25th  St.,  West  Holly- 
wood. Bus.  Agt:  Paul  L.  Robinson,  Jr., 
1219    Cordera    Rd.,    Fort    Lauderdale. 

716  PANAMA  CITY  —  Allen  M.  Douglas, 
P.  0.  Box  752.  Tele.:  1605  Tyndall  Drive. 
Bus.  Agt:  Harold  McKenzie,  1202  Christel 
Ave. 


GEORGIA 

320  SAVANNAH  —  L.  Martin  Boyd,  P.  0. 
Box  1941.  Tele.:  117  E.  Fairmont  Ave. 
Bus.  Agt.:  R.  0.  Hardee,  907  Seiler  Ave. 

427  ROME  —  C.  R.  Chambers,  P.  0.  Box 
Ml.  Tele.:  202  N.  Elm  St.  Bus.  Agt.:  L. 
W.   Van   Horn,   Wilkerson   Rd. 

507  MACON  —  Gilbert  J.  Poirier,  P.  0. 
Box  451.  Tele.:  2828  Alta.Vista  Ave.  Bus. 
Agt:  Marion  H.  Sanders,  3740  Irwinton 
Rd. 

518  AUGUSTA  —  F.  B.  Beaufort,  Jr., 
P.  0.  Box  421.  Tele.:  208  Summit  Ave., 
W.,  N.  Augusta,  S.  C.  Bus.  Agt.:  F.  B. 
Beaufort,  Jr. 

568  COLUMBUS  —  E.  L.  Gullatt,  P.  0. 
Box  455.  Tele.:  2205  Summerville  Road, 
Phoenix  City,  Ala.  Bus.  Agt.:  George  H. 
Reese,   2636  Walnut  St. 

824  ATHENS  —  James  E.  Wall,  P.  0. 
Box  161.  Tele.:  P.  0.  Box  352,  Bogart. 
Bus.  Agt.:   Marvin  Sexton,  175  Combs  St. 

837  GRIFFIN  —  Charter  revoked.  Road 
men  contact  R.  E.  Morris,  International 
Trustee,  P.  0.  Box  811,  Mobile,  Ala. 
36601.  HAWAII 

665    HONOLULU   —   Tsutomu    Hiramatsu, 

P    0.  Box  498,  Zone  9.  Cable:   1403  16th 

Ave.,    Zone    16.    Bus.    Agt:    Sammy    Aras- 

hiro,    1618   S.    King   St.,    Zone   9. 

IDAHO 

91  BOISE,  NAMPA,  CALDWELL,  TWIN 
FALLS,  SUN  VALLEY  —  Charles  R. 
Wiley,  4407  Clark  St.,  Boise.  Bus.  Agt.: 
James  Wroten,  6715  Platinum  Drive,  Boise. 

463  POCATELLO  —  Earl  Thomas,  752 
Hemlock  St.  Bus.  Agt.:  Richard  P.  Greg- 
ersen,    3134    S.    5th. 

629  IDAHO  FALLS  —  Alden  E.  Hill, 
3455  Teeples  Drive.  Bus.  Agt.:  Alden 
E.    Hill. 

663  LEWISTON  —  B.  F.  Hughes,  P.  0. 
Box  374.  Zip  83501.  Tele.:  1320  14th 
Ave.  Bus.  Agt:  Hobart  D.  Burns,  1010 
13th  Ave 

742  WALLACE  -  KELLOGG     —     Carmello 
Amato,     Jr.,     1717    Burke    Rd.,    Wallace. 
Bus.  Agt:   Carmello  Amato,  Jr. 
ILLINOIS 

156  DANVILLE  —  Claude  H.  Lovejoy, 
P.  0.  Box  144.  Tele.:  601  Wayne  St. 
Bus.  Agt.:  Claude  H.  Lovejoy. 

166  GALESBURG  —  Leon  S.  Neblock. 
P.  0.  Box  42.  Tele.:  633  Lincoln  St 
Gus.  Agt:   Leon  S.  Neblock. 

193  BLOOMINGTON- NORMAL  —  Karl 
B.  Blakney,  P.  0.  Box  172,  Bloomington. 
Tele.:  943  McArthur  Ave.,  Bloomington 
Bus.  Agt:  Arthur  W.  Tucker,  Hay- 
worth,    III. 

207  FREEPORT  —  Albert  Staver,  1642  S. 
Highland  Ave.  Bus.  Agt.:  Karl  Fritzen- 
meier,    3O8V2   N.    Cherry   Ave. 

217  ROCKFORD   —   Lewis   R.   Hickox,    P. 

0.  Box   472.   Tele.:   1420  Auburn   St.   Bus. 
Agt:    E.   G.   Sutphen,   1012   16th   St. 

221  AURORA  —  Harold  H.  Nelson,  603 
Spring  St.,  Bus.  Agt.:  Frank  L.  Allen, 
702   Jackson   St. 

268  ALTON  —  Roy  C.  Gunter,  P.  0.  Box 
133.  Tele.:  1637  Rock  Spring  Park  Drive. 
Bus.  Agt:  Wallace  Foster,  905  Wash- 
ington. 

317  WAUKECAN  —  Milan  D.  Miloshe- 
vich,  R.  R.  2,  Box  655A,  Gurnee.  Bus. 
Agt.:  Maurice  B.  McMahon,  421  Ridge- 
land     Ave. 

392  KEWANEE  —  Darwin  Davis,  P.  0. 
Box  214.  Tele.:  515  Willow  St.  Bus.  Agt.: 
Edward    Lams,    500    West    Prospect    St. 

419  DECATUR  —  H.  J.  Steele,  1313  E. 
Sedgwick. 

421  HERRIN,  III.,  and  CAPE  GIRAR- 
DEAU, Mo.  —  Joe  Pirka,  802  Baggott 
St.,    Ziegler.    Bus.   Agt.:    Roy   Brown,    710 

1.  Oak  St.,  W.  Frankfort. 

425  KANKAKEE  —  James  T.  Schmidt, 
P.  0.  Box  182.  Tele.:  210  S.  Fraser 
Ave.  Bus.  Agt.:  Oscar  H.  Schmidt,  410 
S.   Schuyler  Ave. 

434  PEORIA.  PEKIN  —  A.  D.  Dittmer 
209  W.  Melbourne  Ave.,  Zone  5.  Bus. 
Agt.:  Ray  Brian,  812  W.  Maywood,  Peoria. 

482  CHAMPAIGN  and  URBANA  —  Rich- 
ard Klemm,  P.  0.  Box  327,  Champaign. 
Tele.:  1204  Mimosa  Dr.,  Champaign.  Bus. 
Agt:  Owen  Marshall,  209  W.  University 
Ave. 

483  ELGIN  —  John  H.  Stickling,  RR  No. 
1,  Box  510,  Dundee.  Bus.  Agt:  John  H. 
Stickling. 

522  QUINCY  —  George  W.  Fruehe,  2226 
Madison  St.  Bus.  Agt:  T.  W.  Vollmer, 
722    N.    24th    St. 

565  CENTRALIA  —  John  W.  Ramp,  703 
Kensington,  Mt.  Vernon.  Bus.  Agt:  Art 
LaSalle,   3216  Central,    Mt.   Vernon. 

600  LaSALLE,  STREATOR,  OTTAWA  — 
John  Oberhloz,  1414  Bluff  St.,  Peru. 

658  JACKSONVILLE  —  Albert  H.  Gour- 
ley,  P.  0.  Box  173.  Tele.:  2010  Plum. 
Bus.  Agt.:  Arthur   McFarland,  30]    Falton. 

681  GILLESPIE  —  Elmer  Dworsak,  P.  0. 
Box  45,  Saunton.  Tele.:  120  S.  Wood, 
Saunton.  Bus.  Agt.:  Wilfred  Day,  P.  0. 
Box  16,  Carlinville,   III. 


'mer.natioxal  Projectionist         October.  1964 


725  MATTOON  -  CHARLESTON  —  Wilmer 
J  Harper,  724  Oklahoma  Ave.,  Mattoon 
61938.  Bus.  Agt.:  John  Kruger,  1419  13th 
St..    Charleston. 

726  O'FALLON  —  Lloyd  Smith,  513  Long- 
view  Drive,  Belleview.  Bus.  Agt.:  Frank 
Mann,    Bethel    Road,    Collinsville. 

748  STERLING,        ROCK        FALLS       and 

OIXON  —  Chester  L.  French,  1029  Peoria 

Ave.,      Dixon.      Bus.     Agt.:     George     J. 

Tuft,    1305    15th    Ave.,    Sterling. 

INDIANA 

106  MARION  —  Arlington  Hankins,  P. 
0.  Box  106.  Tele.:  1009  Oxford  Drive. 
Bus.  Agt.:  Glenn  Weaver,  2104  Valley  Ave. 

133  HAMMOND  —  George  J.  Martin,  534 
Conkey  St.,  Suite  1.  Zip  46324.  Tele.: 
938  Summer  St.  Bus.  Agt.:  Richard  M. 
Parbst,   1143  Fisher  St.,   Munster. 

145  GARY  —  J.  M.  Hartsock,  R.  R.  3, 
Box  152,  Crown  Point.  Bus.  Agt.:  George 
Sargent.    1030    Union    St. 

148  LOGANSPORT  —  Richard  D.  Red- 
inger,  P.  0.  Box  502.  Tele.:  1236  Wood- 
lawn  Ave.  Bus.  Agt.:  Paschal  P.  Woodling, 
1622  Miles  St. 

174  LAFAYETTE  —  Eugene  Farrington, 
3106  Prairie  Lane.  Bus.  Agt.:  Charles 
E.  Colvin,  1900  Indian  Trail  Drive,  West 
Lafayette. 

187  SOUTH  BEND  —  John  E.  Marker, 
P.  0.  Box  474,  Zip  46624.  Tele.:  210  Vil- 
lageway.  Bus.  Agt.:  Sylvester  J.  Bueche, 
14413  St.  Road  123,  Granger. 

263  RICHMOND  -  CONNERSVILLE  —  Wil- 
liam J.  Kyle,  205  N.  W.  "I"  St.,  Rich- 
mond    Bus.    Agt.:    William    J.    Kyle. 

292  MUNCIE-  PORTLAND  —  James  E. 
Rawlinson,  2804  Rosewood  Ave.,  Muncie. 
Bus.  Agt.:  Fred  Femeyer,  3031  Ivy  St., 
Muncie. 

372  VINCENNES  —  Ray  Leech.  P.  0. 
Box  25.  Tele.:  1321  Nichols  St.  Bus. 
Agt.:    S.   A.   LaCoste,    1209   N.    12th   St. 

490  ELKHART -GOSHEN  —  Robert  Bow- 
ser. 5118  E.  Jackson  St.,  Elkhart.  Bus. 
Agt.:  LeRoy  Lape,  RR  4,  Box  96,  Elk- 
hart. 

494  FRANKFORT  -  CRAWFORDSVILLE  — 
Claude  C.  Sheets,  P.  0.  Box  168,  Frank- 
fort. Tele.-  507  Delphi  Ave.,  Frankfort. 
8us.  Agt.:  L.  R.  Jackson,  251  W.  Boone 
St..    Frankfort. 

539  ANDERSON  —  Horace  D.  Eubank, 
P.  0.  Box  241.  Tele.:  812  West  Sixth 
St.  Bus.  Agt.:  Roy  Shepherd,  1624  W. 
9th    St. 

544  KOKOMO  —  George  R.  Plummer, 
P.  0.  Box  313.  Tele.:  2542  Walker  Ave. 
Bus.  Agt.:  Fred  L.  Grady,  518V2  W. 
Taylor. 

570  MICHIGAN  CITY  -  LaPORTE  —  E.  L. 
Holem,  P.  0.  Box  69,  Michigan  City. 
Tele.:  413  Derby  St.,  Michigan  City. 
Bus.  Agt.:  Sid  Blande,  212  E.  10th  St., 
Michigan  City. 

618  BLOOMINGTON,  BEDFORD,  COLUM- 
BUS and  SEYMOUR  —  Burl  McGuire, 
P.  0.  Box  552,  Bloomington.  Tele.:  523 
S.  Walnut  St.,  Bloomington.  Bus.  Agt.: 
Burl    McGuire. 

630  PERU  —  Claude  McElheny,  359  Arm- 
strong Ave.   Bus.  Agt.:   Claude   McElheny. 

660  HUNTINGTON  —  M.  C.  Kennedy, 
P.  0.  Box  3.  Tele.:  1835  Dean  St.  Bus. 
Agt:    M.   C.    Kennedy. 

696  NEW  CASTLE  -  L.  E.  Thomas, 
P.  0.  Box  7.  Tele.:  2704V2  Grand  Ave. 
Bus.  Agt.:   John  Strong,   Spiceland. 

701  NEW  ALBANY  —  Charles   N.    Long, 
P.    0.    Box    283.     Tele.:     1235    Slate    Run 
Road.  Executive  Committee,  P.  0.  Box  283. 
IOWA 

103  DUBUQUE  —  Louis  W.  Huggins,  2205 
Rhomberg  Ave.,  Bus.  Agt.:  Executive 
Board,   2205  Rhomberg  Ave. 

191  CEDAR  RAPIDS  —  Herbert  W. 
Johnston,  P.  0.  Box  847.  Tele.:  421  24th 
St.,  N.  W.  52405.  Bus.  Agt.:  Blake  St. 
Clair,    135  38th   St.   N.    E.   52402. 

202  WATERLOO  —  Martin  S.  Frank, 
P  0.  Box  62.  Tele.:  2204  Rainbow  Dr. 
Bus.    Agt.:    Executive    Board. 

332  CLINTON  —  A.  E.  Hubbard,  P.  0. 
Box  332.  Tele.:  320  Ruth  PI.  Bus.  Agt. 
A.    E.    Hubbard. 

385  BURLINGTON  —  Joe  W.  Harter,  238 
S.  8th  St.  Bus.  Agt.:  C.  Art  Gardner, 
807    S.    10th    St. 

389  FORT  DODGE  —  Alvin  E.  Pieper, 
Jr.,  P.  0.  Box  754.  Tele.:  1527  Fourth 
Ave.,  S.  Bus.  Agt.:  Ralph  J.  Bolender, 
R.   F.  D.   1. 

441  OTTUMWA  —  John  J.  Johnston,  509 
S.  Miller  St.  Bus.  Agt.:  Herbert  Utterback, 
260  S.   Willard   St. 

450  MASON  CITY  —  Paul  F.  Cota,  829 
3rd   St.,   S.  W.   Bus.  Agt:   Paul   F.   Cota. 

527  MARSHALLTOWN  —  Victor  H.  Sell, 
208  W.  State  St.  Bus.  Agt:  William  Mar- 
tens,  206V2   N.   4th   St. 

593  CRESTON  —  P.  E.  Thomas,  2221 
Jones  St.,  Apt.  23,  Omaha  2,  Neb. 
Bus.    Agt:    Executive    Board. 

687  SHENANDOAH,  Iowa;  BEATRICE  and 
NEBRASKA  CITY,  Neb.  -  See  Nebraska. 
690  IOWA  CITY  -  Wm.  H.  Singleman, 
P.  0.  Box  42.  Tele.:  8  Triangle  Place. 
Bus.  Agt:  Charles  Singleman,  832 
Dearborn   St. 

JO 


KANSAS 

242  PITTSBURG  —  James  C.  Evans,  1604 
N.  Joplin.  Bus.  Agt.:  0.  D.  Barger,  427 
W.  Seventh. 

261  SALINA  —  Floyd  W.  Ringer,  P.  0. 
Box  262  Tele:  230  S.  3rd  St.  Bus.  Agt.: 
Donald   Gray,  437  S.   5th. 

368  HUTCHINSON.  DODGE  CITY,  PRATT, 
GREAT  BEND  —  Lloyd  S.  Fuller  P.  0. 
Box  125,  Hutchinson.  Tele.:  715  E.  5th 
St.,  Hutchinson.  Bus.  Agt.:  G.  E.  Fayette, 
207  E.  10th  St.,  Hutchinson.  Bus.  Agt. 
for  Dodge  City:  Virgil  L.  Seals,  1505 
W.    Chestnut,    Dodge    City. 

464  EL  DORADO  —  Lee  McNair,  P.  0. 
Box  321,  Towanda.  Bus.  Agt.:  Donald  E. 
Walker,    712    W.    5th    St.,    Newton. 

491  PARSONS  —  H.  R.  Reed,  Box  86, 
Tele.:  1516  Appleton.  Bus.  Agt.:  Ira 
Haskett,    613    N.    13th. 

495  COFFEYVILLE  —  Bernard  Williams, 
602  Highland.  Bus.  Agt.:  Olin  K.  Ham- 
lin    10    E.    North    St. 

498  KANSAS  CITY  and  JOHNSON  COUN- 
TY —  C.  C.  Bretz,  P.  0.  Box  1146,  Zip 
66117.  Tele.:  3059-B  Parkwood  Blvd., 
Zone  4.  Bus.  Agt.:  Bruce  Stone,  4008 
Oakland. 

555  ATCHISON  —  Frank  Antle,  819  Price 
Blvd.  Bus.  Agt.:  Clarence  Bigelow,  920 
Santa    Fe,    Atchison. 

632  FORT  SCOTT  —  William  H.  Betts, 
727  N.  Cedar  St.,  Nevada,  Mo.  Bus.  Agt.: 
Eugene  D.  Rector,  510  Meadow  Lane. 

641  ARKANSAS  CITY  —  John  A.  Ray, 
P.  0.  Box  405.  Tele.:  1120  North  C. 
Bus.  Agt.:  Melvin  G.  McCall,  1102  N.  D. 
St. 

657  LEAVENWORTH  —  B.  A.  Spinner, 
316  Lawrence  Ave.  Bus.  Agt:  L.  H.  Vander 
Staay,    928    Ottawa    St    . 

KENTUCKY 

281  PADUCAH  —  Arthur  L  Melton, 
P.  0.  Box  184.  Tele.:  R.  F.  D.  Hinkleville 
Road.    Bus.    Agt:    Arthur    L.    Melton 

346  LEXINGTON  —  J.  W.  Williams,  813 
Oak  Hill  Dr.,  Zone  14.  Bus.  Agt.:  R.  J. 
Baxter,   752  E.  7th   St. 

369  ASHLAND,  Ky.,  HUNTINGTON  W.  Va., 
and  IRONTON,  0.  —  (See  369,  West 
Virginia) 

712  OWENSBORO  and  HENDERSON  — 
Earl  Hardin,  820  E.  20th  St.,  Owensboro. 
Bus.  Agt:  William  L.  Cart,  W.  5th  Road, 
Owensboro. 

724  BELL  and  HARLAN  COUNTIES  — 
William.  H.  Ballard,  P.  0.  Box  689,  Mid- 
dlesboro.  Tele.:  612  Manchester  Ave., 
Middlesboro.  Bus.  Agt.:  William  H.  Bal- 
lard. 

828  HOPKINSVILLE-MADISONVILLE  — 
William  L.  Swykard,  P.  0.  Box  450,  Hop- 
kinsville.  Tele.:  520  Brown.  Hopkins- 
ville.  Bus.  Agt.:  William  L.  Swykard. 

836  BOWLING  GREEN  —  James  E. 
Thompson,  P.  0.  Box  856,  Zip  42101 
Tele.:  Ridge  Road.  Bus.  Agt.:  James  E. 
Thompson. 

LOUISIANA 

260  LAKE  CHARLES  —  James  K.  Hollier, 
P.  0.  Box  1234.  Tele.:  3409  Patrick  St. 
Bus.  Agt:  Harry  T.  Estes,  2609  Cy- 
press St. 

400  ALEXANDRIA-PINEVILLE-FORT  POLK 
—Stewart  E.  Wilson,  P.  0.  Box  841,  Alex- 
andria. Tele.:  214  Payne  St.  Pineville. 
Bus.  Agt:  W.  Martin  Lipscomb,  1200 
Jeanie  St.,  Pineville.  Phone:  318-445-4957. 

540  BATON  ROUGE  —  L.  A.  Rice,  P.  0. 
Box  125.  Tele.:  125  Belleview  Dr.  Bus. 
Agt.:  J.  0.  Cothern,  5153  Bradley  St. 

668  MONROE  —  Charles  Roddy,  P.  0. 
Box  1050.  Tele.:  407  Morris  Ave.  Bus. 
Agts.:  (0)  D.  H.  Mobley,  315  McEnery. 
(Sj  Vernon  Riddik,  P.  0.  Box  1050. 

708  VIVIAN  —  Harry  M.  Allgood,  2601 
Williams  Ave.,  Shreveport.  Bus.  Agt: 
George  Ragon,  Sr.,  1743  Maple  St., 
Shreveport. 

888  LAFAYETTE  —  Steven  J.  Duhon,  152 
S.  Richter  Drive.  Bus.  Agt.:  Clarence 
Richard,   121  S.   May  Drive. 

MAINE 

198  BANGOR  —  Francis  V.  Riva,  72 
Oak  St.,  Old  Town.  Bus.  Agt:  Charles  F. 
Rice,  984  Broadway. 

MARYLAND 

258  CUMBERLAND  —  Chester  Barkman, 
200  Wilmont  Ave.  Bus.  Agt.:  Russell  Hi  I  - 
leary,   515  Patterson  Ave. 

591  HAGERSTOWN  and  FREDERICK, 
Md.,  WAYNESBORO,  Pa.,  WINCHESTER, 
Va.,  and  MARTINSBURG,  W.  Va.  -  Charles 
D.  Warner,  130  North  Ave.,  Hagerstown. 
Bus.  Agt.:  George  Wagner,  129  Belview 
Ave.,  Hagerstown. 

MASSACHUSETTS 

83  NORTH  ADAMS  —  Peter  J.  Koch,  326 
State  Rd.,  Bus.  Agt.:  James  A.  Coddaire, 
28  Porter  St. 

86  FITCHBURG  -  LEOMINSTER  —  Wil- 
liam H.  Moran,  49  Forest  St.  Bus.  Agt.: 
William     H.     Moran. 

96  WORCESTER  —  Robert  Krock,  P.  0. 
Box  326.  Tele.:  251  May  St.  Bus.  Agt: 
John    E.    Murphy,    58   Winifred   Ave. 


232  NORTHAMPTON  —  Daniel  Schwartz, 
84  Eames  Ave.,  Amherst.  Bus.  Agt.:  John 
Tichy,    2    Lang    Ave.,    Easthampton. 

454  ATTLEBORO  —  Thomas  DePalma,  16 
Shawmut  Ave.,  Mansfield.  Bus.  Agt:  Ed- 
ward J.  Ringuette,  15  Avery  St.,  N.  Attle- 
boro. 

505  WALTHAM  —  Fred  Rousseau,  29 
Farmington  Road,  West  Newton,  Zone  65. 
Bus.  Agt.:  Vincent  T.  Kavanaugh,  8  Fells 
Circle,   Wellesley,    Zone  81. 

549  TAUNTON  —  Roland  Robino,  17 
Fourth  Ave.  Bus.  Agt.:  Mathew  De  Silva, 
12   Dean   Ave.   02780. 

596  GREENFIELD  —  A.  A.  Drew,  16 
Myrtle  St.  Bus.  Agt.:  George  F.  Patnode, 
341    Chapman    St. 

723  NORWOOD  —  J.  Alphonse  Grenache, 
206  Main  St.,  Hopedale.  Bus.  Agt:  Ernest 
M.    Santamaria.    35   Turtle    St.,    Revere. 

792  PLYMOUTH-CAPE  COD  —  William 
Leming,  128  Sandwich  St.,  Plymouth  02360. 

MICHIGAN 

35  SAGINAW  —  C.  D.  Kelly,  1027  S. 
Washington  Ave.  Bus.  Agt.:  C.  D.  Kelly. 

125  BAY  CITY  —  Fred  Morse,  2120  2nd 
St.  Bus.  Agt:  Earl  F.  Drouin,  2103  16th 
St. 

172  JACKSON  —  Charles  Ramsey,  231 
W.  Mason.  Bus.  Agt.:  Leslie  Tingley,  115 
Round    Lake   Drive,    Michigan   Center. 

188  KALAMAZOO  —  A.  J.  Thornton,  730 
Pleasant  Ave.  Bus.  Agt.:  Harry  Williams, 
2007   Miles   Ave. 

274  LANSING  and  EAST  LANSING  — 
Craig  A.  Chapin,  P.  0.  Box  95,  Lansing. 
Tele.  1912  S.  Rundle,  Lansing.  Bus.  Agt.: 
Jay  Roberts,  3306  Stoneleigh  Drive, 
Lansing. 

291  GRAND  RAPIDS  —  Walter  J.  Sowa, 
1026  Lockridge,  N.  E.  49505.  Bus  Agt: 
J.  0.  Bogardus,  344  Coldbrook,  N.  E. 

395  ANN  ARBOR  —  Howard  Fanslow, 
302  Middle  Dr.,  Ypsilanti.  Bus.  Agt.:  Clar- 
ence  Purdy,   505   Eberwhite,   Ann   Arbor. 

435  SAULT  STE.  MARIE  —  (Secretary, 
see  435,  Canada.)  Bus.  Agt.:  H.  C.  An- 
nett  166  Stanley  St.,  Sault  Ste.  Marie, 
Ont,   Can. 

492  BATTLE  CREEK  —  William  J.  Bar- 
ber, P.  0.  Box  637.  Tele.:  83  Lakefront 
Drive.  Bus.  Agt.:  John  0.  Griggs,  163 
Calhoun    St. 

538  MUSKEGON  —  William  P.  Oswald, 
2172  Leif  Ave.  Bus.  Agt.:  Geo.  Oplinger, 
1833  Sanford  St. 

601  BENTON  HARBOR  —  Victor  Pitlik, 
515  LaSalle,  St.  Joseph.  Bus.  Agt:  Karl  A. 

Loeffler,   818   Main   St.,   St.    Joseph. 

620  PONTIAC  —  Robert  W.  Dearth,  2737 
Silverhill  Drive.  Bus.  Agt:  Jack  D.  Tobin, 
2151  Derby,  Birmingham. 

622  PORT  HURON,  Mich.,  and  SARNIA, 
Ont.—  Ernest  Cassin,  P.  0.  Box  41.  Tele.: 
1619  Chestnut  St.  Bus.  Agt:  J.  F.  Cassin, 
P.    0.    Box   41. 

735  MT.  CLEMENS  —  James  R.  Kim- 
mick,  16405  Curtis  Ave.,  Roseville.  Bus. 
Agt.:  Roy  F.  Suckling,  Brumar  Manor, 
22810  Nine  Mile  Road,  Apt.  16,  St.  Clair 
Shores. 

738  ALLEGAN  —  Wm.  L  Johnson,  P.  0. 
Box  69,  So.  Haven.  Tele.:  522  Superior 
St.,  So.  Haven.  Bus.  Agt.:  Francis  J. 
Falk,   Route  2,  Box  273. 

744  CADILLAC  -  NORTH  CENTRAL  MICH- 
IGAN —  Lester  Van  Buskirk,  404  N. 
Second  Ave.,  Alpena.  Bus.  Agt.:  Lester 
Van  Buskirk. 

807  STURGIS  —  Eric  D.  Earl,  179  N. 
Hudson  St.,  Coldwater.  Bus.  Agt.:  C.  A. 
Allen,  431  5th  Ave.,  Three  Rivers. 

MINNESOTA 

416  ROCHESTER    -    AUSTIN    —    R.    W 

Gaskill,  P.  0.  Box  793,  Rochester. 
Tele.:  1533  Third  Ave.,  S.  W.,  Rochester. 
Bus.  Agt.:  Wray  Eastlick,  516  Tenth 
Ave.,  S.  E.,  Rochester. 

436  WINONA  —  George  E.  Eggers,  1706 
Monroe  St.  Bus.  Agt.:  Ed  Pellowski,  209 
W.  5th  St. 

487  VIRGINIA,  HIBBING  and  EVELETH 
—Joseph  L.  Newman,  P.  0.  Box  356,  Hib- 
bing  55746.  Tele.:  422  Highland  Drive 
Hibbing.  Bus.  Agt:  Milan  Lonchar,  8  Sec- 
ond St.,  S.  E.  Chisholm. 

510  MOORHEAD,  Minn.,  and  FARGO, 
N.  D.  —  (See  North  Dakota). 

583  ST.  CLOUD  —  C.  G.  Buchan,  P.  0. 
Box  254.  Tele.:  346  11th  Ave.,  Waite 
Park.  Bus.  Agt:  Lloyd  DeVries,  411  2nd 
Ave.,   N.    E. 

684  MANKATO  —  George  J.  Homer,  401 
Moreland  Ave.  Bus.  Agt:  Tony  J.  Knoll 
936  Marsh  St. 

714  RED  WING  —  Harold  Bennett,  1114 
Kellog  Ave.    Bus.   Agt.:    Harold   Bennett. 

743  BEMIDJI  —  Charter  surrendered. 
Road  men  contact  Glenn  C.  Kalkhoff,  In- 
ternational Representative,  108  W.  Wells 
St.,  Room  454,   Milwaukee,  Wis. 

MISSISSIPPI 

589  JACKSON-VICKSBURG  —  John  R. 
Frankinson,  P.  0.  Box  1753,  Jackson, 
Zone  9.  Tele.-.  902  Dorgan  St.,  Jack- 
son. Bus.  Agt.:  C.  B.  Carroll  414  W. 
Capitol    St.,    Jackson. 


589-A  JACKSON-VICKSBURG      —      A.      C 

Taylor,  3305  Center  St.,  Jackson.  Bus. 
Agt.:  Edward  Henry,  920  Dondo  St., 
Jackson. 

590  CLARKSDALE-GREENWOOD  —  Olin 
L.  Spencer,  616  Desota  Ave.,  Clarksdale. 
Bus.  Agt.:  Mark  L  Cagle,  506  Lynn  St., 
C  '3  rk^ri?i !  p 

615  HATTIESBURG  —  R.  C.  Boatman 
P.  0.  Box  1106.  Tele.:  307  Eighth  Ave. 
Bus.    Aet.:    R.    C.    Boatman. 

616  MERIDAN  —  Sandy  A  Scalco,  3305 
27th  St.  Bus.  Agt.:  Sandy  A.  Scalco. 

617  GREENVILLE  —  Joe  F.  Marshall 
431  Eureka  St.  Bus.  Agt.:  Charles  B 
Mullen,    143   N.    Edison    St 

674  BILOXI  and  GULFPORT  —  Paul  B 
Ussery,  331  Bayly  Drive,  Biloxi.  Bus 
Agt:  W.  H.  Watkins,  1153  Old  Pass 
Road,    Long    Beach. 

MISSOURI 

135  SEDALIA  —  Bernard  Hill,  1713  W 
16th. 

143-A  ST.  LOUIS  —  Cecil  R.  Keene, 
1023  N.  Grand  Blvd.  Tele.:  4315  Page 
Blvd.  Bus.  Agt.:  Elmer  Sims,  4408 
Evans    Ave.,    Zone    13. 

421  CAPE     GIRARDEAU-(See     Illinois. 1 

443  JEFFERSON  CITY  —  Ralph  Darnell, 
321  Case  Ave.  Zip  65101.  Bus.  Agt  • 
Lerov    Hackman     1208    Lee    St. 

497  INDEPENDENCE  —  Laird  B  Jef- 
fers,  Sr.,  6846  Oak  Terrace,  Kansas 
City  10.  Bus.  Agt.:  Walter  S.  Jennings. 
1719   Aopleton    Ave. 

562  HANNIBAL  —  Abbott  V.  Shear- 
man, P.  0.  Box  201.  Tele.:  307  N. 
Sixth.  Bus.  Agt:  Phil  B.  Conn,  New 
London 

573  MOBERLY  —  Lawrence  Stringer. 
1120  Concannon.  Bus.  Agt.:  J.  0.  Crook 
811     E.     McPherson,     Kirksville. 

595  CARTHAGE  —   Rex   B.    Mealey,   Sr 
509     E.     4th     St.     Bus.     Agt:     Rex     B. 
Mealey,    Sr. 

MONTANA 

94  BUTTE-ANACONDA  —  Rene  Rou- 
leau. P.  0.  Box  157.  Tele.:  412  W 
Park  St.  Bus.  Agt.:  Jack  McNaugh 
ton.    227    E.    Front    St. 

213  GREAT  FALLS -HELENA  —  Paul 
Morse,  P.  0.  Box  1581,  Great  Falls. 
Tele.:  305  Beth  Drive,  Great  Falls 
Bus.     Agt.:     Paul     Morse. 

240  BILLINGS  —  Lou  S.  Smith,  P.  0. 
Box  545.  Tele.:  2022  Picket  Lane. 
Bus.  Agt.:  (S)  D.  J.  Farrell,  2714  2nd 
Ave,  S.  (0)  James  C.  Nelson,  337 
Burlington   Ave. 

339  MISSOULA  -  KALISPELL  —  Merle 
Olson,  220  E.  Kent.  Bus.  Agt.:  Merle 
Olson. 

NEBRASKA 

151  LINCOLN  —  D.  D.  MacDougall, 
P.  0.  Box  487.  Tele.:  4631  Holdredge 
St.  Bus.  Agt.:  Anthony  L.  Polanka, 
1812    Cotner 

586  COLUMBUS,  HASTINGS,  NORFOLK, 
GRAND  ISLAND  —  Conrad  Krieger,  P.  0. 
Box  152,  Grand  Island.  Tele.:  436  E 
South  St.,  Grand  Island.  Bus.  Agt  ■ 
Leo    Tews,    1201    S    6th    St,    Norfolk. 

649  NORTH  PLATTE,  KEARNEY  and 
OGALLALA  —  Robert  Barton,  415  W. 
2nd  St.,  North  Platte.  Bus.  Agt: 
Charles  Easton,  307  S.  James,  North 
Platte. 

687  BEATRICE-NEBRASKA  CITY,  Neb., 
SHENANDOAH,  Iowa  —  Wilmer  C.  Way- 
man,  P.  0.  Box  122,  Beatrice.  Tele.: 
1329  E.  Court  St,  Beatrice.  Bus.  Agt: 
Wilmer    C.    Wayman. 

NEVADA 

363  RENO  —  Herbert  H.  Hinze,  P.  0 
Box  5278,  Washington  St.  Sta.  Tele.: 
1950  W.  Plumb  Lane.  Bus.  Agt:  Rob- 
ert H.  Wetherill,  P.  0.  Box  538,  State- 
line,     Lake    Tahoe,     Calif. 

NEW    HAMPSHIRE 

195  MANCHESTER  —  Thomas  P. 
Swist,  P.  0.  Box  483,  Zip  03105.  Tele.: 
306  Lowell  St.  03104.  Bus.  Agt.:  Thomas 
P.   Swist 

685  CONCORD  —  Charter  revoked. 
Road  men  contact  William  C.  Scan- 
Ian,  International  Trustee,  574  East- 
ern   Ave.,    Lynn,    Mass. 

NEW  JERSEY 

243  ASBURY  PARK  —  James  N.  Con- 
way, P.  0.  Box  402.  Bus.  Agt.:  Con- 
way   Drewitz,    IIO21/2    Third    Ave. 

269  OCEAN  COUNTY  —  James  D. 
Gibson,  711  Bay  Ave.,  Toms  River.  Bus. 
Agt:  Edw.  Griesenbeck,  405  Lenape 
Trail,    Brielle. 

362  PASSAIC  COUNTY  —  Hugh  Thomp- 
son, Jr.,  539  Van  Houten  St.,  Pater- 
son,  Zone  1.  Tele.:  10  Brookside  Ave., 
Hawthorne.  Bus.  Agt.:  Kenneth  Chamb- 
ers,  3  Greene  Ave.,  Totowa,   Zone  2. 

365  WARREN  and  HUNTERDON  COUN- 
TIES —  Frank  P.  Sheets,  Box  343,  An- 
nandale.  Tele.:  West  St.,  Annandale. 
Bus.  Agt:  George  F.  Miller,  210  W. 
Stewart   St.,    Washington. 


International  Projectionist         October.  1964 


379  PERTH  AMBOY  —  James  Quinn, 
660  Main  St..  Fords.  Bus.  Agt.:  John 
Rosan,    54    Carlton    St..    Fords. 

462  VINFLAND  —  John  F.  Rhodes. 
R  D.  2  Lincoln  Ave.  Bus.  Agt.:  Eugene 
V.  Mathis.  R.  D  No  4.  N.  Oelsea  Dr. 
185  UNION  COUNTY  -  George  F. 
Cushing,  Room  406,  Martin  Bid?.,  1139 
E  Jersey  St..  Elizabeth,  Zone  4.  Tele.: 
639  Salem  Ave..  Elizabeth.  Bus.  Agt.: 
Georee    F.    Cushing. 

502  MORRIS  COUNTY  —  William 
Jukes.  18  Hinchman  Ave.,  Oenville.  Bus. 
Aet-:  Dominick  Caravaggio,  25  Pine  St., 
Morristown 

529  LONG  BRANCH  —  Charles  W.  Cha- 
peil.  Sr.,  31  S.  Fifth  Ave.  Bus.  Agt; 
Charles    W.    Chapel'.    Sr. 

534  NEW      BRUNSWICK  Charles 

Stillman.  P.  0.  Box  722.  Tele.:  2051 
AuJubon  Ave..  South  Plainfield.  Bus. 
Agt.:  Kenneth  McManis.  19  Chapel 
St.    Nixon    N.    J.    08818 

536  RED  BANK- FREFHOLO  —  Alex 
ander  Sastokas,  R.  D.  2,  Hwy.  33, 
freehold.  Bus.  Agt.:  Anthony  Talarico. 
84    John    St..    Re1    Bank. 

642  BERGEN  COUNTY  —  Charles  La- 
martin.  366  Trensch  Drive.  New  Milford. 
Bus.  Agt.:  Edward  H.  Paul,  141  Lozier 
Terr..    Ri"er    Fdee. 

813  CAPE  MAY  COUNTS  -  Roscoe 
L.  Smith.  915  Washington  St..  Cape 
May.  Bus  Agt.:  Harold  F.  Sherwood, 
3707    Pacific    Ave..    Wildwood. 

885  SUSSEX  COUNTY  -  Stanfor-1  Tida- 
back.  P.  0.  Box  1,  Newton.  Bus.  Agt.: 
Pa'il  C.  Rennert.  16  Orcharl  St.,  New- 
ton. 

NEW    MEXICO 

423  ALBUQUERQUE  and  ROSWELL  — 
David  Hamrah,  412  Gnegos  Roat,  N.  W., 
Albuaueraue.  Bus.  Agt.:  Don  Brooks, 
520    Richmond.    S.    E.,    A'buquerque. 

843  LAS  CRUCFS  -  Walter  A  Bowra. 
P.  0.  Box  87.  Tele.:  808  S.  Melendres. 
P'is.  A-t.:  Archie  M  Chambless,  840 
Maple   St 

NEW    YORK 
45  NEWBURGH     -     Anee'o     Pizarro,     39 
Farrington    St.     Bus     Agt.:     Frank     Pea- 
cock.   36    Lander    St. 

108  GFNEVA  —  Arthur  J  O'Neill. 
379  Castle  St.  Bus.  Agt  :  E.  Francis 
Larham.    568   Liberty    St.,    Penn    Yan. 

119  AUBURN  -  James  J.  Gallery,  86 
Hamilton  Ave.  Bus.  Agt.:  A'bert  E. 
Green,   51    Ross   St 

121  NIAGARA  FALLS  -  Leonard  Has 
tee.  2463  Willow  Ave.  Bus.  Agt.:  J. 
Frederick  Yiung.   714  83rd  St. 

266  JAMESTOWN  -  George  W.  Sam- 
uelscn,  P.  0.  Box  153  Tele.:  26 
Hazeltine  Ave.  Bus.  Agt.:  George  W. 
Samuleson. 

272  CORTLAND  —  Jack  LeRoy.  97 
Tompkins  St.  Bus.  Agt.:  Henry  Jeffery. 
101    Maole    Ave. 

289  ELMIRA  —  H.  Paul  Shav,  P.  0. 
Box  371.  Zip  14902.  Tele.:  1201  Lake 
St.   Bus.  Agt.:   H.   Paul  Shay. 

290  GLOVERSVILLE  -  Lyn'on  B. 
Harvey,  P.  0.  Box  145,  Gloversville. 
Telet.:  21  Western  Blvd.  Bus.  Agt.: 
H.    S.    Laird.    113   E.   Clinton,    Johnstown. 

308  DUNKIRK  John      Houghtalmg. 

P.  0.  Box  203.  Tele.:  91  East  7th  St. 
Bus.  Agt.:  Charles  Acker,  Jr.,  525  Wash- 
ington   Ave. 

311  MIOCLETOWN  -  William  F.  Ro- 
backer,  119  N.  Beacon  St.  Bus.  Agt.: 
0.  A.  Garcea.  234  Phillip  St. 

313  AMSTERDAM  -  Elmer  J  Rossi, 
Jr.  R.  D.  4,  Bus.  Agt.:  Alfred  Noble, 
91     Division     St. 

318  LOCKPORT  —  Justin  J.  Burns.  P 
0.  Box  374.  Tele.:  42  Genesse  St.  Bus. 
Agt.:     Justin    J.     Burns. 

338  WATERTOWN  —  Richard  Hartness, 
327  Coffeen  St.  13601.  Bus.  Agt.:  Henry 
O'Neil.    1110   Academy   St.    13601. 

353  PORT  JERVIS  and  SULLIVAN 
COUNTY  -  Raymond  L.  Smith,  P.  0. 
Box  82,  Forest  City,  Pa.  Bus.  Agt.: 
David  Powell,  P.  0.  Box  384,  Hurley- 
viiie. 

377  ITHACA  —  Robert  H.  King,  P. 
U.  Box  244.  Tele.:  49  Cayuga  St., 
Trumansburg.  Bus.  Agt.:  John  Detrick, 
809   S.   Aurora   St. 

474  ROME-ONEIDA-James  A.  Street, 
R.  D.  1,  Verona  Bus.  Agt.:  Frank 
Zugner,     117    MacArthur    Drive,    Rome. 

480  CORNING  —  John  F.  Short,  135 
Pntchard  Ave.  Bus.  Agt.:  Frank  Luck- 
ner,   3  High  St. 

484  OLEAN  —  James  R.  Norton,  20 
Jerome  Ave.,  Bradford.  Pa.  Bus.  Agt  ■ 
James    R.    Norton. 

499  POUGHKEEPSIE  —  Bunnell  Eigh- 
mie,  P.  0.  Box  482.  Tele.:  28  Ham- 
mersley  Ave.  Bus.  A*t.:  Ed  Batey.  25 
Hammersley  Ave. 

524  GLEN  FALLS  —  Phil  Brilling, 
P.  0.  Box  201.  Tele.:  100  Cooper  St. 
Bus.  Agt.:  William  T.  Axton,  145 
Maple   St. 


532  OSWEGH  —  Leonard  Scheutzow, 
P.  0.  Box  252.  Tele.:  23  West  Mohawk 
St.  Bus.  Agt:  Fred  Timon,  Apt.  109, 
Hami'ton    House. 

581  BATAVIA  —  Herman  Gabriel,  123 
S.  Main  St.  Bus.  Act.:  William  J. 
Pickert,     22     Fordham     Drive. 

592  SARATOGA  SPRINGS  —  Haverly 
Jeffers.  98  N.  Main  St.,  Mechanicville. 
Bus.  Agt.:  Frank  La  Brum.  99  White 
St..    Saratoga    Springs. 

609  LITTLE  FALLS  —  Stanley  Cwalin- 
ski.  325  Pleasant  Ave.,  Herkimer.  Bus. 
Agt.:  Norbert  Steele,  East  Monroe  St. 
637  KINGSTON  —  Geo.  P.  Seymour, 
19  N.  5th  St..  Hudson  12534.  Bus.  Aet.: 
Wilfred  Mitchinson,  435  State  St., 
Hudson    12534. 

645  ROCKLAND  COUNTY  —  William 
O'Mahoney,  P.  0.  Box  234,  Congers. 
Tele.:  59  Hlghmount  Ave.,  Nyack.  Bus. 
Agt.:  Claude  C.  Curtis,  15  Elise  Drive, 
Spring    Valley. 

676  HORNELL  —  William  K.  Jackson, 
8  Mays  Ave.  Bus.  Agt.:  Elliott  Hazen, 
10    Mays    Ave. 

749  MALONE  —  Arthur  Nacashian.  88 
Webster  St.  Phone  483-0475.  Bus.  Agt.: 
Charles  Brown.  123  S.  Williams  St. 
NORTH  CAROLINA 
1-78  SALISBURY  -  L  A.  Fox.  P.  0. 
Box  81.  Tele  i  1660  Park  Road.  Bus. 
Agt.:  James  B.  Mahaley,  206  E.  Bank 
St. 

278  ASHEVILLE  —  H.  J.  Cunningham, 
67  E.  Chestnut  St.  Bus.  Agt.:  S.  E. 
Holland.    Woo-'fin    Apts..    Woodfin    St. 

322  CHARLOTTE  W.      L.      Jenkins. 

1831  Thomas  Ave.  Bus.  Agt.:  K.  M. 
Clontz.  1724  Independence  ,  Blvd., 
Zone    5. 

417  DURHAM  —  George  A.  Godley. 
P  0.  Box  947.  Tele.:  1623  Avon 'ale 
Drive.  Bus.  Agt.:  I.  L.  Tilley.  2511 
Farthint!    St. 

481  GASTONIA  -  A.  R.  Walker,  221 
S.  Oakland  St.  Bus.  Agt.:  A.  R. 
Wa'k^r 

520  WILMINGTON  -  J.  A.  Johnston, 
P.  0.  Box  238  Tele:  RFD  1,  Leland. 
Bus.    Aet.:    J.    A.    Johnston. 

574  GREENSBORO  -  Paul  Covington. 
P.  0.  Box  666.  Tele.:  512  Tate  St. 
Bus.  Agt.:  S.  P.  Kersey,  2106  Wright 
Ave. 

603  RALEIGH  -  0.  B.  Morris.  P.  0. 
Box  1822.  Tele.:  Rt.  5.  Bus.  Agt.: 
G.  H.  Edwards.  2713  Trawick  Rd. 

635  WINSfON-SALEM  —  C.  E.  Morgan, 
P.  0.  Box  313.  Tele.:  R.  F.  D.  2,  Walnut 
Cove.  Bus.  Agt.:  0.  L.  Ziglar,  113  Rose- 
dale  Circle. 

670  WILSON-ROCKY  MOUNT  —  R.  C. 
Rountree,  Anderson  Apt.  No.  1,  503  Vance 
St..  Wilson.  Bus.  Agt.:  R.  C.  Rountree. 

717  CONCORD  —  Carl  Hintz.  P.  0.  Box 
64.  Tele.:  R.  D.  1.  Mt.  Pleasant.  Bus 
Agt.:   J.  R  Parker,   108  Barnhardt  Ave. 

778  BURLINGTON  —  C.  J.  Ross,  231 
Lakeside  Ave.  Bus.  Agt.:  H.  C.  Fondow, 
516   Planner   St. 

797  HIGH  POINT  —  H  C.  Simmons.  P 
0.  Box  206.  Tele.:  1100  Greensboro  Rd. 
Bus.  Agt.:  Rush  Crawford,  2414  Lexington 
Ave. 

821  LEXINGTON-THOMASVILLE  —  Billy 
R.  Kanoy,  P.  0.  Box  188,  Lexington.  Tele.: 
602  E.  Guilford  St..  Thomasville.  Bus. 
Agt.:  F.  Marshall  Leonard,  221  Coutland 
Terr.,   Burlington. 

870  FAYETTEVILLE  —  Roy  Herring,  121 
Peace  St.  Bus.  Agt.:  William  Lucas,  126 
Camelia  Drive. 

NORTH    DAKOTA 
231   GRAND  FORKS  —  Kenneth  C.  Lowe, 
718   N.    Fifth    St.    Bus.    Agt.:    Kenneth    C. 
.ove. 

510  FARGO,  N.  D.  and  MOORHEAD,  Minn 
—  E.  J.  McCannel,  P.  0.  Box  574.  Fargo. 
Tele.:  915  2nd  Ave.,  S.,  Apt.  5,  Fargo. 
Bus.  Agt.:  Henry  G.  Lehr,  706  N.  10th. 

654  MINOT  —  John  S.  Ceglowski,  P.  0. 
Box  486.  Tele.:  713  3rd  St.,  N.  W.  Bus. 
Agt.:   John  S.  Ceglowski. 

698  BISMARCK  —  W.  Schmaltz,  P.  0. 
Box  445.  Tele.:  909  16th  St.  Bus.  Agt.:  W. 
Schmaltz. 

OHIO 
71  NEWARK  —  G.   E.  Camp,   P.  0.  Box 
424.  Tele.:  353  Eddy  St.  Bus.  Agt.:  Forrest 
Bartlett,    142  Riley  St. 

79  MASSILLON  —  Owight  E.  Dietz,  327 
Korman  Ave.,  N.  E.  Bus.  Agt.:  Dwight  E. 
Dietz. 

100  MARIETTA,  Ohio  and  PARKERSBURG, 
W.  Va.  —  (See  West  Virginia). 

104  ZANESVILLE  —  Edgar  H.  Fuller, 
1760  NorwooJ  Blvd.  Bus.  Agt.:  Edward  H. 
Kenily,   41   S.   4th   St. 

123  EAST  LIVERPOOL  —  Thirl  Biggins, 
P.  0.  Box  564.  Tele.:  306  E.  Chestnut  St., 
Lisbon.  Bus.  Agt.:  Frank  Marshall,  307 
Carolina  Ave. 

132  NILES-WARREN  —  Henry  J.  Blakley, 
P.  0.  Box  764,  Warren.  Tele..-  1541  Gene- 
see Ave.,  N.  E.  Warren.  Bus.  Agt.:  Ralph 
W.  Bailey,  791  Kenmore,   N.   E.  Warren. 


136  HAMILTON  —  Tom  C.  Smith,  403 
Progress  Ave.  Bus.  Agt.:  Peter  Bisdorf, 
1441   Maple  Ave. 

155  TROY-PIOUA-SIDNEY  —  Glenn  F.  Ba- 
d;rtscher.  1062  Boone  St.,  Piqua.  Bus. 
A°ts.:  (S)  Joel  J.  Hixson,  R.  R.  3,  Box 
293-A,  Piqua.  (0)  Robert  Phillips,  403 
Wagner  Ave.,  Sidney. 

189  ALLIANCE  —  John  H.  Greenlees, 
P.  0.  Box  434.  Tele.:  Route  30,  East  Ro- 
chester. Bus.  Agt.:  Floyd  E.  Bowman, 
10560  State  Street,  Louisville. 

192  FINDLAY  —  Richard  Dunlap,  813 
Tiffin  Ave.,  Bus.  Agt.:  Harrison  Van  Dorn, 
313   East  St. 

214  SANDUSKY  —  J.  E.  Gardner,  P.  0. 
Box  1133.  Tele.:  1326  Vine  St.  Bus.  Agt.: 
J.   E.  Gardner. 

267  TIFFIN  —  Russell  G.  Kitchin,  262' 2 
N.  San-'usky  St.  Bus.  Agts.:  (0)  Burt  C. 
Brickner,  P.  0.  Box  724;  (S)  Sam  Shaw, 
R.    F.   D.  3. 

282  MIDDLETOWN  —  Charles  Roberts, 
P.  0.  Box  284.  Tele.:  313  Arcadia  Drive. 
Bus.  Agts.:  (S)  Earl  S.  Roebuck,  2203 
Arlington  Ave.  (0)  F.  L.  Francis,  14  Har- 
rison St. 

315  STEUBENVILLE  —  T.  P.  Caniff, 
P.  0.  Box  94.  Tele.:  3081  Crestline  Dr. 
Bus.  Agt  :  T.  P.  Caniff. 

349  LIMA  —  W.  J.  Courtney,  P.  0.  Box 
491.  Tele.:  710  Albert  St.  Bus.  Agt.: 
R.  G.  Neff,  Waynesfield. 

369  IRONTON,  Ohio,  HUNTINGTON,  W. 
Va..  and  ASHLAND,  Ky.  —  (See  369,  West 
Virginia.) 

422  ASHTABULA  —  H.  L.  Rood,  P.  0. 
Box  243.  Tele.:  521  Prospect  Rd.  Bus. 
Agt.:  Jack  P.  Lynch,  P.  0.  Box  243. 
571  PORTSMOUTH  —  Russell  Jarris,  P.  0. 
Box  33.  Tele.:  620  John  St.  Bus.  Agt.: 
Ofa  Osborne,    1722  Charles  St. 

598  MARION  —  Richard  Baldauf,  P.  0. 
Box  101.  Tele.:  619  Mary  St.  Bus.  Agt.: 
Leon  Obenour,  396  Commercial  St. 

G33  CAMBRIDGE  —  Aaron  C.  Swank,  P. 
0.  Box  15,  Newcomerstown.  Tele.:  452 
N.  College  St.,  Newcomerstown.  Bus.  Agt.: 
653  LORAIN-ELYRIA  —  Louis  Horkay, 
Jr..  P.  0.  Box  278.  Tele.:  738  Brownell 
Ave.  Bus.  Agt.:  A.  L.  MacPhail,  140  N. 
Ridge.   E 

733  ATHENS  —  Hal  K.  Osborne,  P.  0. 
Box  53.  Tele.:  Mound  St.  Bus.  Agt.: 
Charles  Farrow.  72  N.  Congress  St. 
OKLAHOMA 
227  PONCA  CITY  —  Arthur  H.  Erwin 
302  S.  4th  St.  Bus.  Agt.-.  R.  B.  Alston, 
525  N.    12th  St. 

246  MUSKOGEE  —  U.  J.  Orrell,  P.  0. 
Box  246.  Tele.:  1208  Cincinnati  St.  Bus. 
Agt.:   Milo  Miller,  905  S.   D.  St. 

312  ENID  —  George  L.  Virgil,  1604 
Lake.  Lawton.  Bus.  Agt.:  George  L. 
Virgil. 

387  LAWTON  -  0.  B.  Ranes,  P.  0. 
Box  387.  Tele.:  1415  Arlington.  Bus.  Agt.: 
E.  Burrell  Jones,  722  N.  31st  St. 

399  BARTLESVILLE  —  Floyd  Blackman, 
123  S.  Quapaw.  Bus.  Agt.:  Albert  Lee 
Findley,    P.   0.   Box    1162. 

471  OKMULGEE  —  Charter  revoked. 
Roa1  men  contact  LeRoy  Upton,  Interna- 
tional Vice-President,  320  N.  Grand  Blvd., 
St.  Louis  3,  Mo. 

517  SAPULPA  —  B.   E.  Robertson,  2013 

S.  Cedar  St.  Bus.  Agt.:  B.  E.  Robertson. 

679  MIAMI   —   Orrick   Sparlin,    Jr.,   325 

"B"    St..    N.    W.    Bus.    Agt.:    Stanley    J. 

Sullins,    403    "G"    St.,    N.    W. 

OREGON 

234  PENDLETON,  LA  GRANDE  —  (See 
Washington). 

446  ASTORIA  —  Chester  R.  Lamont,  262 
Ninth  St.  Bus.  Agt.:  Chester  R.  Lamont. 

613  SALEM  —  J.  M.  Kemper,  957  Bel- 
mont, N.  E.  Bus.  Agt.:  J.  W.  Simeral, 
990  Winter  St.,  N.   E. 

672  KLAMATH  FALLS  and  MEDFORD  — 
Richard  E.  Teater,  2345  Applegate  Ave., 
Klamath  Falls.  Bus.  Agt.  for  Klamath 
Falls:  Roger  Porret.  Bus.  Agt.  for  Med- 
ford:  Robert  E.  Biehn,  369  Oakgrove 
Road.   Me  .ford. 

675  EUGENE,  CORVALLIS  and  BEND  — 
Richard  P.  Lyons,  1443  E.  20th  Ave.  Bus. 
Agt.:   Harold  DeLarm,   1565  Linda  Ave. 

785  COOS  BAY  —  A.  E.  McDuffie,  Rt. 
Box  751.  Bus  Agt.:  Leonard  Ingeman, 
1816   Madrona,   North   Bend. 

PENNSYLVANIA 

101  SHARON-FARRELL  —  Michael  Ya- 
nak,  1109  Spearman  Ave.,  Farrell.  Bus. 
Agts:  (S)  Fred  Bennett,  1079  E.  State 
St.,  Sharon.  (0)  Frank  Crivello,  1241 
Roemer  BIvj.,   Farrell. 

120  PITTSTON  —  James  A.  Casala,  143 
Mill  St.  Bus.  Agt.:  Stanley  Yanick,  202 
Phila  elphia    Ave.,    West. 

130  ALTOONA  — Richard  Bradley,  P.  0. 
Cox  263.  Tele.:  2626  Pleasant  Valley 
B  vd.  Bus.  Agt.:  Urgie  Baker,  3816  Maple 
Ave. 

152  HAZLETON  —  Joseph  Rubinate,  549 
W.  Green  St.  Bus.  Agt.:  Anthony  DeCosmo, 
549  James  St. 


International  Projectionist         October.  1964 


177  CONNELSVILlE  —  Byron  K.  Bishop, 
P.  0.  Box  304.  Tele..  R.  D.  No.  2,  Box 
240.  Bus.  Agt.:  Robert  Albright,  P.  0. 
Box   138,   South  Connellsville. 

179  WILLIAMSPORT  —  Harold  B.  Lilley, 
P.  0.  Box  411,  1218  Vine  Ave.  Bus.  A"t  : 
Glenn  Crossley,  Sr.,  2381  Riverside 
Drive,   S. 

200  NORRISTOWN  --  John  Seal,  266 
Prince  Frederick  St.,  King  of  Prussia. 
Bus.  Agt.:  Julius  Needleman,  1144  Ver- 
non  Rd.,    Phi  la  1e1  phia   50,   Pa. 

203  EASTON-STROUDSBURG  —  J.  Wal- 
ter MacCracken,  P.  0.  Box  65,  Easton. 
Tele.:  831  McCartney  St..  Easton.  Bus. 
Agt.:  Kenneth  S.  Mack,,  Stone  Crossing, 
Easton. 

208  UNIONTOWN  —  K.  S.  Haines,  P.  0. 
Box  814.  Tele.:  56  Elma  Ave.  Bus.  Agt.: 
Charles  W.  Vincent,  Sr.,  151  Connells- 
ville   St. 

218  POTTSVILLE  —  Carlton  Wiest,  P.  0. 
Box  194.  Tele.:  800  W.  Norwegian  St. 
Bus.  Agt.:  Anthony  Discavage,  807  N.  3rJ 
St. 

265  GREENSBURG  —  M.  J.  Packerene, 
P.  0.  Box  452.  Tele.:  828  Wool  St., 
Latrobe.  Bus.  Agt.:  George  W.  Mooney, 
625    W.    Newton    Ave. 

283  YORK,  HANOVER  and  GETTYSBURG 
—Harry  L.  Olp,  P.  0.  Box  181,  York 
17405.  Tele.:  213  Main,  Red  Lion.  Bus. 
Agt.:  Emory  Myers,  1702  W.  Market  St., 
York. 

287  BEAVER  FALLS,  ALIQUIPPA,  AM- 
BRIDGE,  BEAVER,  MONACA,  MIDLAND, 
NEW  BRIGHTON  and  ROCHESTER  —  Wil- 
liam J.  Howe,  P.  0.  Box  328,  Rochester. 
Tele.:  761  Sunflower  Rd.,  Rochester  Bus. 
Agt.:  David  E.  Dickinson,  Fastvale  Trailer 
Park.    Eastvale,   Beaver    Falls. 

296  WARREN  —  E.  J.  Lesser,  P.  0.  Box 
32.  Tele.:  122  Conewango  Ave.  Bus.  Agt.: 
K.    K.    Sigworth,    308    Hazel    St. 

329  SCRANTON  —  Clayton  R.  Leas, 
P.  0.  Box  228.  Tele.:  2923  Frink  St. 
Bus.  Agt.:  Sam  Kessler,  512  Wheeler  Ave. 

335  BRADFORD  —  Leo  J.  Foran,  48 
Bedford  St.  Bus.  Agt.:  Executive  Board, 
48    Bedford    St. 

341  OIL  CITY  —  Howarl  R.  Findlay, 
R.  D.  2.  Bus.  Agt.:  Robret  R.  Tarr,  305 
Wilson    Ave. 

342  BUTLER  —  Paul  E.  Smith,  P.  0. 
Box  415.  Tele.:  Highland  Ave.  (Meridian), 
Butler.    Bus.    Agt.:    Paul    E.    Smith. 

398  MEADVILLE  —  August  F.  Bodisch, 
R.  D.  3,  Box  9-A,  Linesville,.  Bus.  Agt  : 
Russell  C.  Bortles,  P.  0.  Box  364, 
Linesville. 

403  SUNBURY,  LEWISBURG,  SELINS- 
GROVE  —  Russell  H.  Search,  P.  0.  Box 
225,  Sunbury.  Tele.:  College  Park,  Lewis- 
burg.  Bus.  Agt.:  Robert  E.  LeVan,  902 
Avenue  "G,"   Riverside. 

444  NEW  KENSINGTON  an  I  TARENTUM 
-Anthony  Haracznak,  1910  Constitution 
Blvd.,  New  Kensington.  Bus.  A7t.:  Joseph 
Milburn,   1131  Wills  Ave.,  New  Kensington. 

451  NEW  CASTLE  -  Robert  0.  Wood- 
ring,  P.  0.  Box  583.  Tele.:  26  Cecil  Ave. 
Bus    Agt.:    Executive   Boar1. 

478  BETHLEHEM  —  Charles  Beyea,  P. 
0.  Box  1213.  Tele.:  430  Main  St.  Bus. 
Agt.:   Charles  Beyea. 

515  SHAMDKIN  —  F.  Shirman,  119  N. 
Grant  St.  Bus.  Agt.:  Cement  Yeager,, 
233   W.    Third    St.,    Mt.    Carmsl. 

516  CHESTER  —  Jack  Mullen,  P.  0. 
Box  92.  Tele.:  4  W.  24th  St  Bus.  Agt.: 
Perry  Restucci,  104  Edwarl  Drive, 
Brookhaven. 

554  LEBANON  —  Albert  Spayd,  P.  0. 
Box  193.  Tele.:  55  N.  12th  St.  Bus.  Agt.: 
John  Shultz,  704  N.  3rd  Ave. 

561  JOHNSTOWN  —  Paul  Halovich,  P  0. 
Box  665.  Tele.:  220  Haynes  St.  Bus. 
Agt.:    Joseph   C.    Burgo,    362    Moore   St. 

566  McKEESPORT  —  Herbert  W.  Schae- 
fer,  P.  0.  Box  157.  Tele.:  27'2  Lafayette 
Ave.  Bus.  Agt.:  Emmett  A.  flames,  3512 
Woodland   Ave. 

575  POTTSTOWN  —  Kenneth  H.  Delo- 
plaine,  R.  D.  1,  Gilbertville.  Bus.  A;t.: 
GerarJ  T.  Boyle,  R.  D.  2,  Boyertown. 

591  WAYNESBORO   —   (See   Maryland). 

607  KITTANNING  —  James  Gallo,  135 
Main  St.,  Ford  City  16226.  Bus.  Agt.: 
James   Gallo. 

627  WASHINGTON  —  E.  W.  Seal,  28  S. 
Wale  Ave.  Bus.  Agt.:  J.  P.  Lane,  260 
Donnan   Ave. 

628  CHARLEROI  and  MONESSEN  —  Wil- 
liam C.  Giles,  P.  0.  Box  519,  Browns- 
ville. Tele.:  422  Brashear  St.,  Browns- 
ville. Bus.  Agt.:  R.  J.  Crosby,  Jr.,  513 
1st  St,   Monessen. 

636  LEWISTOWN,  STATE  COLLEGE,  HUNT- 
INGTDON  —  Gregory  Crawfor  ,  R.  D. 
Mt.  Union.  Bus.  Agt.:  George  Figard, 
R.   D.   2,   Box  406  Huntingdon. 

664  VANDERGRIFT  —  James  L.  Davis, 
227  Clymer  Ave.,  Indiana.  Bus.  Agt.:  Al- 
bert Sack,  425  Emerson  St. 

11 


703  DuBOIS  —  James  R.  Fleming,  P.  0. 
Box  295,  St.  Mary's.  Bus.  Agt.:  R.  R. 
McGreevey,    509    Grant    St.    Reynoldsville. 

718  PHILIPSBURG  —  James  Wood,  P. 
0.  Box  204,  Ramey.  Bus.  Agt.:  Executive 
Boari,    Box    204,    Ramey. 

832  LANGHORNE  —  Howard  Scheicher, 
6  Summer  Lane,  Levittown.  Bus.  Agt.: 
Frank  Fee,  10  Pumpkin  Hill  Road,  Levit- 
town. 

RHODE    ISLAND 

309  NEWPORT  —  Harold  W.  McGinn, 
10  Summer  St.  02842.  Bus.  Agt.:  W.  H. 
White,    Jr.,    10    Pennacook   St. 

538  WESTERLY  —  H.  Irvine  Pendlebury, 
P.  0.  Box  365.  Tele.:  Boston  Post  Rd. 
Bus.  Agt.:  Gerald  H.   Payne,  63  Beach  St. 

579  WOONSOCKET  —  William  F.  Dever, 
P.O.  Box  1164.  Tele.:  23  White  Parkway. 
Bus.  Agt.:    William  F.  Dever. 

677  KENT  COUNTY  —  Harold  F.  Benson, 
56  Harris  Ave.,  West  Warwick  02893.  Bus. 
Agt.:     Harold   F.   Benson. 

SOUTH    CAROLINA 

333  CHARLESTON  —  A.  P.  Jones,  P.  0. 
Box  671.  Tele.:  1670  Garden  St.  Bus. 
Agt:  Robert  L.  Schardt,  619  Welch  Ave., 
Riverlanl  Terrace. 

347  COLUMBIA  —  Carroll  L.  Addy,  P.  0. 
Box  972.  Tele.:  4801  James  St.  Bus.  Agt.: 
W.  H.  Herring,  1420  Charleston  Highway, 
West  Columbia. 

512  SPARTANBURG  —  T.  H.  Childress, 
C-28.  Tele.:  103  Cambridge  Circle.  Bus. 
Agt:     Paul    E.    Kelley,    204  Willwood. 

697  GREENVILLE  —  J.  H.  Austin,  P.  0. 
Box  343.  Tele.:  115  Hillrose  Ave.  Bus. 
Agt.:    T.  T.  Sizemore,   143  Augusta  Court. 

741  ANDERSON  —  W.  Lester  Hubbard, 
P.  0.  Box  741.  Tele.:  3  Jaynes  St.  Bus. 
Agt.:  John  R.  Cornwell,  309  Moultrie 
Square. 

SOUTH   DAKOTA 

503  MITCHELL-HURON  —  John  M.  Spry, 
622  S.  Duff  St.,  Mitchell.  Bus.  Agts.: 
(0)  William  F.  Vogt,  1200  E.  4th  Ave., 
Mitchell.  (S)  James  M.  Spry,  622  S.  Duff 
St.,   Mitchell. 

525   ABERDEEN   —   Walter   E.    Bleckert, 
P.  0.  Box  525.    Tele.:    1707  S.   Main   St. 
Bus.   Agt:   Walter   E.   Bleckert 
TENNESSEE 

530  BRISTOL,  7a.,  ano  Tenn.  —  Hugh 
H.  Home,  P.  0.  Box  12,  Bristol,  Tenn. 
Tele.:  1725  Holston  Drive,  Bristol,  Tenn. 
Bus.  Agt.:  William  Vernon,  Maple  Hurst, 
Adt,  Bluff  City,  Tenn. 

639  JACKSON  —  Wm.  H.  Parham,  P.  0. 
Box  126.  Tele.:  118  Edenwood  Drive 
Bus.    Agt.:    Paul    Burke,    612    Lambuth. 

699  JOHNSON  CITY  —  Ralph  C.  Lusk, 
P.  0.  Box  764.  Tele.:  301  W.  G.  St., 
Elizabethton.  Bus.  Agt.:  H.  B.  Crowe 
Sr.,  Wautauga  Ave.,  Ext,  Rt.  6,  Elizabe- 
thton. 

713  MURFREESBORO  —  J.  W.  Young 
236  E.  Tanksley,  Nashville  37211.  Bus' 
Agt:  Sam  Watson,  R.  D.  2,  Lebanon 
37087. 

759  CLEVELAND  —  Claude  A.  West  P 
0.  Box  302.  Tele.:  Star-Vue  Theatre. 
Bus.  Agt.:  William  A.  Smalling,  George- 
town Pike. 

763  DYERSBURGH  —  Charter  revoked 
Road  men  contact  R.  E.  Morris  Inter- 
national Trustee,  P.  0.  Box  811,  Mobile 
Ala.   36601. 

814  OAK  RIDGE  —  Willis  E.  Baker,  Sr 
P.   0.   Box   3113.     Tele.:     921    Fowler   St., 
Clinton.     Bus.   Agt.:     William    P.    Harding 
104-A    Elza    Drive. 

835  KINGSPORT  -  Claude  K.  Pendle- 
ton, 1224  Holyoke  St  Bus.  Agt:  Mark 
Rich,    1106   Wilcox   Drive 

851  MARYSVILLE  anil  ALCOA  —  Ken- 
neth E.  Sutton,  1003  Young  Ave.,  Marys- 
ville.  Bus.  Agt:  Ed  Abbott,  Box  402 
Marysville. 

852  MORRISTOWN  and  NEWPORT  —  L 
A.  Collins,  P.  0.  Box  1491,  Morristown 
Bus.  Agt:  Aldon  Vaughn,  318  Peachtree 
St.,   Morristown. 

TEXAS 

153  EL  PASO  —  Charles  W.  Moore, 
P.  0.  Box  1130.  Tele.:  2300  San  Jose 
Ave.  Bus.  Agts.:  (0)  A.  0.  Yonge,  2608 
Silver  St.;  (S)  G.  R.  Jones,  8287  San  Jose 

Rd. 


183  BEAUMONT  —  H.  E.  Wilson,  4895 
Detroit  St.  Bus.  Agt.:  Pete  Navarro,  1463 
RailroaJ. 

205  AUSTIN— B.  L.  Westlund,  P.  0.  Box 
142.  Tele.:  4900  Lansing  Drive,  Zone  4. 
Bus.  Agt:  Charles  W.  Schubbert,  606 
W.  8th  St. 

276  BAYTOWN  —  Wayne  E.  Brock,  P.  0. 
Box  659.  Tele.:  105  E.  Fayle.  Bus.  Agt.: 
Raymond    M.   Brock,    Box   3383. 

280  DENISON  —  R.  T.  Jones,  P.  0.  Box 
228.  Tele.:  516  W.  Gandy  St.  Bus.  Agt.: 
B.   E.  Perry,  719  W  Hull. 

331  TEMPLE  —  R.  L.  Moore,  P.  0.  Box 
392.  Tele.:  911  S.  35th  St.  Bus.  Agt.:  G. 
Molton   Allen,    1215  N.   2nd   St 

378  WICHITA  FALLS  —  S.  F.  Weidman, 
P.  0.  Box  777.  Tele.:  2005  Tilden  St 
Bus.  Agt.:  Edgar  D.  Swartwood,  3007 
Pennsylvania  Ave. 

383  TEXARKANA  —  Hugh  Cavitt,  P.  0. 
Box  323.  Tele.:  900  Whitaker  St  Bus. 
Agts.:  (0)  Executive  Board,  314  S.  Robin- 
son Road.  (S)  J.  R.  HenJerson,  908  East 
33rd   St. 

391  PORT  ARTHUR  —  R.  T.  Sipole,  P. 
0.  Box  207.  Tele.:  115  S.  15th  St., 
Nederland.  Bus.  Agt.:  Travis  Emmons, 
5145  8th   St. 

393  MEXIA  -  CORSICANA  —  Joe  B. 
Vaughn,  1102  W.  13th  Ave.,  Corsicana. 
Bus.  Agt.:  J.  D.  Walker,  Hillside  Drive, 
Corsicana. 

456  DENTON  -  McKINNEY  —  Metz  Kin- 
dle, 1408  N.  WaJdill  St.,  McKinney. 
Bus.  Agt.:  Walter  Harris,  225  Joge  St., 
Denton. 

469  AMARILLO-  LUBBOCK  —  J.  J.  Che- 
shire, Jr.,  P.  0.  Box  1885,  Amarilln.  Tele  : 
4605  Bryan,  Amarillo.  Bus.  Agts.:  Solon 
May,  P.  0.  Box  1583,  Amarillo,  and  S.  E. 
Patterson,    P.    0.    Box   5754,    Lubbock. 

526  ORANGE  —  Walter  Journeay,  909 
4th  St.  Bus.  Agt:  Davis  Gholson,  911  9th 
St. 

548  GREENVILLE -PARIS  —  Don  C. 
Morgan,  333  Sixth  St.,  N.  E.,  Paris.  Bus. 
Agt.:  Rueben  C.  Vallier,  415  Fourth  St., 
S.  W.,  Paris. 

584  BRECKENRIDGE  —  Cleo  Carey,  P. 
0.  Box  48.  Tele.:  306  S.  Miller.  Bus. 
Agt:  J.  H.  Davis,  Jr.,  1304  Hopkins  St., 
Dallas. 

587  LONGVIEW- MARSHALL  —  J.  Ray- 
mond Walker,  P.  0.  Box  845,  Longview. 
Tele.:  703.  E.  Level  Ave.,  Longview. 
Bus.  Agt.:  Emmett  Carter,  Jr.,  207  Smith 
Drive,  White  Oak. 

604  CORPUS  CHRISTI  —  Leo  Beckley, 
P.  0.  Box  969.  Tele.:  918  Grant  Place. 
Bus.   Agt.:    D.   A.   Brandon,  2842  Austin. 

612  ABILENE  —  F.  R.  Block,  P.  0.  Box 
1396.  Tele.:  850  Beechwood.  Bus.  Agt.: 
F.    R.    Block. 

625  TYLER  —  J.  F.  Welch,  Sr.,  235  S. 
Fleishel  St.  Bus.  Agt.:  S.  L.  Davidson, 
617   Mealow  Lane. 

652  KILGORE,  HENDERSON,  GLADE- 
WATER  and  OVERTON  —  Jack  T.  Holbert, 
P.  0.  Box  388,  Kilgore.  Tele.:  1216 
Andrews,  Kilgore.  Bus.  Agt.:  Jack  T. 
Holbert 

678  LAREDO  —  Russell  G.  Ancira, 
P.  0.  Box  742.  Tele.:  I8I8V2  Farragut 
St.    Bus.  Agt:   Russell  G.  Ancira 

688  HARLINGEN,  McALLEN,  BROWNS- 
VILLE —  G.  I.  Harp,  517  Patricia  Ave., 
Mercedes.  Bus.  Agt:  G.  E.  Ayoub,  451 
S   Crockett,    San   Benito. 

692  MARLIN-HEARNE  —  Charter  re- 
voked. Road  men  contact  E.  J.  Miller, 
International  Representative,  1815  Walker 
Ave.,   Houston   3,   Texas. 

693  BROWNWOOD  —  Jim  Pouns,  P.  0. 
Box  23.    Bus.  Agt.:    Jim  Pouns. 

715  GAINESVILLE  —  G.  L.  Luther, 
P.  0.  Box  111.  Tele.:  2516  Garapan  Drive, 
Dallas.    Bus.  Agt:  G.   L.   Luther. 

746  FREEPORT  —  Barnie  T.  Thomas, 
P.  0.  Box  716.  Tele.:  204  Lotus,  Lake 
Jackson.    Bus.  Agt:   Bernie  T.   Thomas. 

765  VERNON  -CHILDRESS  —  Argie  Wal- 
den,  P  0.  Box  2133,  Vernon.  Tele.:  4019 
Circle  Drive,  Venon.  Bus.  Agt:  Argie 
Walden. 

802  BRYAN  —  Jos.  Pletzer,  P.  0.  Box 
486.  Tele.:  209  S.  Hutchins.  Bus.  Agt.: 
Harry    Anthony,    P.    0.    Box    163. 

865  ODESSA  -  MIDLAND  —  S.  E.  Furlow, 
P.    0.    Box    691,    OJessa.     Tele.:    400    E. 


38th  St.,  Odessa.  Bus.  Agt.:.  S  E.  Furlow. 
UTAH 

358  OGDEN  —  Walter  Wheelwright, 
P.  0.  Box  386.  Tele.:  4983  S.  2527  W., 
Roy,  Utah.  Bus.  Agt.:  Dave  Tompkins, 
3305  Quincy  Ave. 

508  LOGAN  —  Eugene  Bell,  463  W.  2nd 
South  St.  Bus.  Agt.:  Charles  McPhee, 
234  S.  2nd   East  St. 

648  PROVO  —  Wayne  Cox,  337  E.  Center 
St.,    Spanish    Fork.     Bus.    Agt.:     Edward 
Bushell,   609  W.   First  North. 
VIRGINIA 

55  ROANOKE  —  Ralph  J.  McDonald,  P. 
0.  Box  1067.  Tele.:  705  Marshall  Ave., 
S.  W.,  Zone  16.  Bus.  Agt:  C  0.  Lawr- 
ence, 2318  Rush  St.,  N.  W 

264  NEWPORT  NEWS  —  W  L.  Strouf, 
P.  0.  Box  795.  Tele.:  313  Cooper,  Hamp- 
ton. Bus.  Agt.:  Nelson  S.  Hawkins, 
160    Algonquin    Rd.,    Hampton. 

390  LYNCHBURG  —  L.  T.  Godsey,  P.  0. 
Box  634.  Tele.:  Leesville  Rd.  Bus.  Agt.: 
James  H.   File,  2008  Broadway  St. 

531  PETERSBURG  —  W.  S.  Query,  1770 
Oakland  St.  Bus.  Agt:  Carl  F.  Wood, 
1901    Oakland    St. 

563  DANVILLE  —  Melville  L.  Perkins, 
2134  Baxter  St.  Bus.  Agt.:  William  0. 
Paul,    747    Melrose    Ave. 

572  STAUTON  —  Anthony  J.  Peduto, 
1611  Pierce  St.  Bus.  Agt.:  Donald  Pattee, 
Singers    Glen. 

591    WINCHESTER    —    (see    Maryland.) 

619  ALEXANDRIA  —  Harold  H.  Phelps, 
2005  Columbia  Pike,  Apt.  829,  Arlington. 
Bus.  Agt.:  S.  A.  Dale,  18  E.  BradJock 
Road. 

711    CHARLOTTESVILLE    —    N.    G.    Dob- 
son,    P.    0.    Box   611.    Tele.:     1324    Long 
St.    Bus.  Agt.:    N.  G.   Dobson. 
WASHINGTON 

93  SPOKANE  —  Leo  T.  Vigil,  P.  0.  Box 
1266.  Tele.:  218  E.  Walton  Ave.,  Zone 
22.  Bus.  Agts.:  (S)  K.  R.  Devereaux, 
East  403  Rich.  (0)  Robert  G.  Crawford, 
East    725    Thuraton. 

117  BELLINGHAM  —  Fred  A.  Graham, 
P.  0.  Box  571.  Zip  98225.  Tele.:  1659 
Chuckanut  Point  Bus.  Agt:  Stan  Pehr- 
son,    204   Brown    Lane 

175  TACOMA  —  C  J.  Ellis,  P.  0.  Box 
1155.  Tele.:  4301  80th  Ave.,  W.  Bus. 
Agt.:     W.    H.    Jarmon,    4802    N.    14th. 

180  EVERETT  —  John  C.  Smith.  P.  0. 
Box  478.  Tele.:  3715  Colby  Ave.  Bus. 
Agt.:     E.   J.   McMurray,   1027  Wetmore. 

234  WALLA  WALLA  and  TRI  CITY  — 
Guy  E.  Blakely,  1409  Road  No.  24,  Pasco. 
Bus.    Agt.:     Paul    Sheley,   914   South    5th, 

Pacp  ("] 

254'  YAKIMA  —  Edwin  G.  Hauff,  P.  0. 
Box  1161.  Tele.:  404  S.  18th  Ave.  Bus. 
Agt.:   L.   B.   Hinds,  2305  Summitview  Ave. 

344  OLYMPIA  —  Owen  Linstad,  P.  0. 
Box  572.  Tele.:  1218  N.  Wilson.  Bus. 
Agt:  G.  K.  Porterfield,  P.  0.  Box  245, 
Lacey. 

351  ANACORTES,  MOUNT  VERNON, 
SEDRO  -  WOOLLEY,  PORT  ANGELES, 
BURLINGTON,  CONCRETE,  STANWOOD, 
MARYSVILLE,  SNOHOMISH,  MONROE  — 
S.  R.  Lowrie,  1718  12th  St.,  Anacortes. 
Bus.   Agt.:     S.    R.    Lowrie. 

401  CENTRALIA,  CHEHALIS,  RAYMOND, 
SOUTH  BEND,  LONGVIEW,  KELSO,  VAN- 
COUVER, CAMAS  —  C.  W.  Wheeler,  P.  0. 
1842  Van  couver.  Tele.:  105  E.  31st  St., 
Vancouver.  Bus.  Agts.:  (Centralia-Che- 
halis)  W.  A.  Kirkpatrick,  413  Magnolia, 
Centralia.  (Vancouver-Camas)  N.  L).  Stark, 
P.  0.  Box  12,  Vancouver.  (Longview 
Kelso)  H.  A.  Kirkpatrick,  1732  Ocean 
Beach   Highway,    Longview. 

429  ABERDEEN  -  HOKUIAM  —  Marvin 
Frost,  2204  Aberdeen  Ave.,  Aberdeen. 
Bus.   Agt.:     Marvin   Frost. 

445  BREMERTON  -  CHARLESTON  — 
Arthur  H.  Miller,  P.  0.  Box  613,  Bremer- 
ton. Tele.:  1932  Burwell,  Bremerton. 
Bus.  Agt:  George  Juricich,  Route  1,  Box 
71,    Silverdale. 

651  WENATCHEE  —  George  H.  Henkel, 
P.  0.  Box  355.  Tele.:  321  15th  St.,  N.  E., 
East  Wenatchee.  Bus.  Agt.:  G.  H.  Schu- 
bert,  210   Spokane   St. 

WEST  VIRGINIA 

64  WHEELING  —  George  J.  Beltz,  P.  0. 
Box   292.     Tele.:    33   9th    St.,    McMe:hin. 


Bus.  Agt:    Nile  C.  Canady,  3461  Franklin 
St.,    Bellaire,    Ohio. 

100  PARKERSBURG,  W.  Va.,  &  MARIET- 
TA, Ohio  —  E.  A.  Earley,  1809  19th  St, 
Parkersburg.  Bus.  Agt.:   E.  A.  Earley. 

239  FAIRMONT  —  Bruce  E.  Vandergrift, 
705  Potomac  Ave.  Bus.  Agt.:  William 
Huett,   Nester,   600  Benoni   Ave. 

270  CLARKSBURG  —  Dallas  D.  Cornell, 
P.  0.  Box  1453.  Tele.:  5  Timberlake 
Court.  Bus.  Agt:  Delmer  A.  Fesler,  628 
Philippi   Pike. 

369  HUNTINGTON,  W.  Va.,  ASHLAND, 
Ky.,  and  IRONTON,  0.  —  0.  M.  Rose, 
P.  0.  Box  192,  Huntington.  Tele.:  1431 
Grove  St.,  Huntington.  Bus.  Agts.:  (0) 
Sam  Hunter,  1132  Adams  Ave.,  Huntington. 
(S)  Ralph  E.  Fowlkes,  932  Jefferson  Ave., 
Huntington. 

578  MORGANTOWN  —  H.  D.  Kelly,  P.  0. 
Box  293,  Zip  26505.  Tele.:  420  West 
Virginia  Ave.  Bus.  Agt.:  Richard  Herstine, 
1157   Des  Moines  Ave. 

591   MARTINSBURG  —  (see   Maryland) 

691  BLUEFIELD  —  Charles  R.  Brewer, 
P.  0.  Box  691.  Tele.:  924  Frederick  St. 
Bus.  Agt.:     E.    E.   Broyles,    144  Giles   St. 

834    ELKINS  -  BUCKHANNON    —    Joseph 

W.    Blackwood,    P.   0.    Box   356,    Philippi. 

Tele.:   222   S.   Walnut  St.,    Philippi.     Bus. 

Agt.:   Joseph  W.   Blackwood. 

WISCONSIN 

141  LaCROSSE  —  Arthur  Frey,  Rt.  1. 
Bus.  Agt:   Frank  Sieger,  139  S.   11th   St. 

167  OSHKOSH  -  FOND  DU  LAC  —  Harold 
E.  Hurlbutt,  1114  E.  New  York  Ave.,  Osh- 
Kosh.  Bus.  Agts.:  (S.  Oshkosh),  Elmer 
Retzloff,  917  Kansas  St.;  (Fon  du  Lac), 
Gor  on  Tupper,  137  S.  Park  Ave. 

251  MADISON  —  Thomas  C.  Tews,  2248 
Rowley  Ave.,  Zone  5.  Bus.  Agts.:  (S) 
Douglas  Gauntlett,  213  State  St  (0)  E.  G. 
Wigdahl,   4537   Winnequah   Rd.,   Zone  4. 

361  KENOSHA  —  John  D.  Sublisky, 
R.  F.  D.  4,  Box  615.  Bus.  Agt.:  Stanley 
Przlomski,   6211  40th  Ave. 

394  APPLETON,  MENASHA,  NEENAH  — 
Floyd  Slayton,  1921  W.  5th  St.,  Appleton. 
Bus.  Agt:  Fred  Kohl,  207  E.  Calumet  St., 
Appleton. 

410  MANITOWOC  —  Harold  Lemberger, 
834  S.  18th  St.  Bus.  Agt.:  Frank 
Swokoske,   1309  S.  18th  St. 

457  SUPERIOR  —  Erving  Austin,  1721 
Tower  Ave.,  Apt.  B.  Bus.  Agt.:  Erving 
Austin. 

475  EAU  CLAIRE  —  Floyd  E.  Garton, 
1630  Main  St.  Bus.  Agts.:  Frank  Schla- 
geter,  641  W.  Grand  Ave.,  Eau  Claire. 
J.  W.  Crooks,  8  W.  Elm  St,  Chippewa 
Falls. 

477  GREEN  BAY  -  MARINETTE,  Wis.  - 
MENOMINEE,  MiCh.  —  Melvin  Oswald, 
Sr.,  2312  Woodrow  Ave.,  Green  Bay.  Bus. 
Agt.  for  Green  Bay:  Bural  Tallman,  1930 
Farlin  Ave.  Bus.  Agt.  for  Marinette- 
Menominee:  Herb  Newman,  836V2  Wells 
St.,    Marinette. 

493  JANESVILLE  -  BELOIT  —  A.  M. 
Mitchell,  2441  E.  Ridge  Rd.,  Beloit.  Bus. 
Agt.:  Bernard  Marker,  1508  Magnolia 
Ave.,    Janesville. 

606  WAUSAU  and  STEVENS  POINT  — 
Carmo  Bierbrauer,  1231  Steuben  St.,  Wau- 
sau.     Bus.   Agt.:    Carmo    Bierbrauer. 

655  SHEBOYGAN,  KOHLER,  PLYMOUTH— 
Henry  Udovich,  P.  0.  Box  64,  Sheboygan. 
Tele.:  2127  S.  12th  St.,  Sheboygan.  Bus. 
Agt.:  John  Kunstman,  610  Broughton  Dr., 
Sheboygan. 

694  BEAVER  DAM  —  Ralph  Percifield, 
P.  0.  Box  34.  Tele.:  123  Mary  St., 
Beaver  Dam.    Bus.  Agt.:    Ralph  Percifield. 

721  ELKHORN  —  Norma  Taylor,  414  S. 
Main  St.,  Delavan.  Bus.  Agt.:  R.  J. 
Mellien,  513  Haskins  St,   Lake  Geneva 

722  WISCONSIN  RAPIDS  —  Ronn  R. 
Desper,  Route  1,  Box  44.  Bus.  Agt: 
Ronn  R.  Desper. 

WYOMING 

426  CASPER  —  John  W.  Buchanan, 
P.  0.  Box  643.  Zip  82602.  Tele.:  902  S. 
Walnut.     Bus.   Agt.:    John   W.   Buchanan. 

489  SHERIDAN— Vergil  J.  Gilson,  P.  0. 
Box  3.  Tele.:  742  Jackson.  Bus.  Agt.: 
Frank   V.   Spainhower,  841   E.   Heald   St. 

647  CHEYENNE  —  George  Dauterman, 
P.  0.  Box  541.  Tele.:  1309  East  20th 
S;  ,  Bus.  Agt:  Gordon  A.  Lewis,  3035 
Snyder   Ave. 


CARBON  ARCS 


for  finest  Projection 


Compact  Xenon  Arcs 


JlowuUne  Abe  GanAosti, 

division 
•  Brighter  Light  on  Screen 

•  Longer  Burning  per  Carbon 

*  More  Economical  ...  / 


CARBONS,   INC. 


eJTJFLON 


products 


rrjFtoss  LAMPHOUSES  • 

by  Cinemeccanica 


BOON  TON,   N.  J. 


\eri*osf  POWER  SUPPLIES 

fay  Christie 


12 


International  Projectionist        October,  1964 


Kodak's  McCelland  Boosts 
Training  Based  on  Need 

Industrial  training  pa\s  when  it  is  based  upon  the  specific  needs  of  the 
company,  needs  that  are  clearly  defined  and  concisely  stated. 

That  thesis  came  from  Robert  C.  McClelland,  director  of  training  for 
Eastman  Kodak  Company,  at  a  recent  convention  of  the  Department  of 
\udio-Visual  Instruction,  National  Education  Association  in  Rochester.  N.  Y. 


Flexibility  in  response  to  company 
training  needs  is  essential.  McClel- 
land said.  \-  an  example,  he  outlined 
the  evolution  of  a  Kodak  training 
program   in  color  photography. 

"\\  hen  the  boom  in  color  photog- 
raph) began  at  the  close  of  World 
War  II.  Kodak's  training  department 
was  deluged  with  requests  for  courses 
in  color  technology,"  he  said.  "Thou- 
sands of  people  in  our  company 
needed  new    knowledg  for  new  jobs 

""Our  response  was  a  standardized 
program  with  courses  taught  in  the 
classroom  and  xheduled  throughout 
the  academic  \  ear.  We  even  published 
i  catalog  of  Kodak  courses  in  color 
technology.  With  the  lessening  of  the 
need  for  new  knowledge,  we  found 
thai  specialization,  rather  than  stan- 
dardization, best  met  the  company's 
needs,"  McClelland  said. 

"Today,  we  have  more  courses 
more  students,  and  keener  interest  on 
the  part  of  company  people,"  he  said. 
"Our  courses  in  photographic  tech- 
nology vary  in  length  from  2  to  800 
hours,  and  instruction  takes  main 
form-. 

McClelland  indicated  that  Kodak 
training  people  have  broad  latitude 
in  the  selection  of  teaching  methods. 
He  discussed  a  variety  of  approach- 
es, among  them:  a  self-taught  course 
in  computer  programming  for  200 
young  men  and  women  in  Kodak's 
data  processing  group:  a  course  in 
camera  repair  taught  by  means  of 
closed  circuit  television  with  each 
student  following  instructions  on  a 
TV  monitor:  the  use  of  sound  mo- 
tion pictures  made  during  class  to 
mirror  student  performance  in  a 
course  on  how  to  conduct  an  effec- 
tive business  conference:  and  the  use 
of  programmed  teaching  devices  that 
individually  instru  t  production  Der 
sonnel  on  the  si  es  where  thev  take 
part  in  assembly  and  finishing  oper- 
ations. 

"Good  teachers,  in  our  schools  and 
in  industry,  have  always  tried  to  an- 
al vze  the  needs  of  their  students." 
McClelland  said.  "They  have  always 

International  Projectionist         October.  1964 


built  teaching  techniques  around 
those  needs. 

"  I  his  kind  of  open-minded  ap- 
proach adds  excitement  and  stimu 
lation  to  the  jobs  of  those  of  us  in 
Industrial  training,"  he  concluded. 
""  \nd    it    permits    the    people    of    the 

company  to  get  on  with  their  work, 
as  quickly  and  as  efficiently  as  pos- 
sible. 'iP 


New  York  State 
Projectionists  in 
Autumn  Meeting 

As  this  issue  of  International  Pro 
jectionist  comes  off  the  press,  the 
New  York  State  Assn.  of  Motion  Pic- 
ture Projectionists  \sill  be  in  session 
at    Ithaca. 

Scheduled  for  October  12.  the 
meetings  are  being  held  at  the  Clin- 
ton House.  It's  a  special  occasion  for 
the  Ithaca  Local  377  hosts — they're 
observing  their  50th  anniversary  ol 
affiliation    with    IATSE. 

President  Frank  E.  Coniglio  was 
scheduled  to  preside  at  a  board  meet- 
ing following  an  opening  luncheon. 
He  also  serves  as  business  agent  of 
Rochester  Local  253.  \u\iliar\  Pres- 
ident Jennie  Young  and  IATSE  As- 
sistant President  Walter  F.  Diehl 
were  also  listed  on  the  program. 

George  F.  Raaflaub  and  George 
W.  Samuelson  were  active  in  the 
planning. 

The  sessions  were  slated  to  wind 
up  with  a  gala  dinner  and  entertain- 
ment. iP 


Projectionists 

who  like  quality 

always  use  the  best 


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Film    Cement 

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Send  for  FREE  Sample 

ACE  CHEMICAL  CO. 

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Miami  Beach,  Florida 


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CORE-LIGHT 

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Projection  Excellence 


HEYER-SHULTZ 
METAL  REFLECTORS 

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No  Replacement  or  Spare  Reflectors  Required 

See  your  dealer  or  write  for  full  particulars 
Manufactured  By  HEYER-SHULTZ,  Inc.,  Cedar  Grove,  N.  J. 


13 


Sturgis  -  Grant  Studio 
Features  Oxberry 
Animation  Process 

by  Vern   W.    Palen 

Sturgis-Grant  Productions,  Inc.,  328  East  44th  Street,  New  York  City. 
is  known  best  for  its  work  with  medical  and  technical  films,  although  the 
studio  also  handles  its  share  of  industrial  films  and  other  tasks.  On  a  recent 
visit,  I  spent  two  hours  with  William  Terry,  vice-president  of  the  organization, 
and  was  greatly  impressed  by  the  staff  and  by  the  modern  equipment  we  saw 
in  this  establishment.  In  the  latter  category,  there  are  two  Oxberry  animation 
stands  that  embody  the  newest  design  features. 

Our  discussion  turned  immediately 

to  recent  projects,  the  first  being  a 
production  titled  "Modern  Obstet- 
rics: Normal  Delivery."  This  is  an 
official  film  of  both  the  American 
Medical  Association  and  the  Ameri- 
can College  of  Obstetricians  and 
Gynecologists.  Sponsored  by  the 
Ortho  Pharmaceutical  Corporation, 
the  16mm  color  sound  film  runs  27 
minutes,  and  is  a  teaching  aid  for 
the  practicing  physician,  intern  and 
student. 


Live  photography  and  animation 
are  employed  throughout  the  film, 
the  latter  being  especially  effective 
in  showing  internal  mechanisms 
which  could  not  otherwise  be  visual- 
ized. Opening  scenes  show  the 
arrival  of  the  expectant  mother  in 
the  obstetrical  department,  starting 
with  the  pre-delivery  examination, 
including  determination  of  the  fetal 
position  and  status,  and  the  manv 
other  procedures  covered  in  the 
doctor's  examination.  Animation  is 
used  to  explain  the  physiology  of 
the  uterine  musculature  during  the 
first  stage  of  labor,  the  principal 
movements  of  the  baby  through  the 
birth  canal  in  the  second  stage,  and, 
after  the  baby  is  born,  the  discharge 
of  the  placenta.  All  of  this  anima- 
tion was  designed  by  Dwinell  Grant 
and  photographed  on  the  Oxberry 
stand. 

In  this  film,  the  animation 
drawings  are  somewhat  unusual  in 
dealing  with  curvature  or  roundness. 
It  wasn't  just  a  simple  matter  of 
making  the  usual  background  draw- 
ings —  each  picture  had  to  be  an 
air-brushed. 

The  usual  type  of  cartoon  anima- 
tion allows  a  great  deal  of  latitude  in 
the  stylization,  but  the  opposite  is 
true  for  medical  films  such  as  this. 
Every  movement,  every  bit  of 
physiological  action,  must  be  actually 

14 


prescribed  within  the  most  exacting 
medical  standards,  and  at  each  stage 
of  the  film's  progress  an  advisory 
committee  scrutinized  every  drawing 
to  check  its  accuracy.  Of  course,  this 
makes  the  job  of  the  film  producer 
much  tougher,  but  the  final  result  is 
most  effective  because  of  this  care 
and  precision. 

In  contrast  to  the  childbirth  film, 
which  was  made  for  professional  use, 
Sturgis-Grant  made  a  29-minute. 
16mm  sound  film  in  color  titled 
"Diabetes  —  What  You  Don't  Know 
Can  Hurt  You"  for  exhibition  to  the 
general  public.  It  was  sponsored  bv 
the  Ames  Company  of  Elkhart, 
Indiana,  manufactureres  of  testing 
materials  for  diabetic  patients,  and 
was  made  through  the  cooperation 
of  the  famed  Joslin  Clinic  of  Boston. 

The  animation  is  schematic,  and 
is     planned     with     considerable     in- 


genuity, since  it  must  convey  to  a 
lay  audience  how  body  processes 
work.  The  stylized,  cartoon-type 
diagrams  were  shot  on  the  Oxberry 
animation  stand,  and  include  one 
lengthy  sequence  depicting  the  pro- 
duction of  insulin  by  the  pancreas, 
and  the  action  of  insulin  on  the  body. 
The  diagrams  continue,  showing  how 
insulin  affects  the  utilization  of 
glucose,  as  well  as  what  happens  in 
the  kidneys  if  there  is  not  enough 
insulin. 

Animation  also  is  used  in  an 
ingenious  manner  to  explain  the 
relationship  between  exercise,  insulin 
and  food  intake.  These  sequences  in- 
volve multi-eel,  multi-run  techniques, 
since  objects  must  appear,  and  then 
undergo  constant  movement,  requir- 
ing a  great  number  of  cycles.  Thus, 
animation  is  used  throughout  the 
film  wherever  a  concept  needs  to 
be  elaborated  or  more  fully  explained 
than  could  be  done  with  mere  words. 


An  overhead  view  of  Oxberry  Auto- 
matic animation  camera  equipment 
shows  a  Sturgis-Grant  technician  pre- 
paring a  typical  set  up. 


Another  new  Sturgis-Grant  16mm 
color  film  was  sponsored  by  Procter 
&  Gamble  Company,  and  is  titled 
"Dynamics  of  Dental  Caries."  Here, 
live  action  and  animation  are  com- 
bined effectively  to  get  the  message 
across.  Live  scenes  show  patients  in 
the  dentist's  office  and  the  research 
carried  on  in  dental  laboratories  in 
support  of  the  theory.  The  animated 
sequences  are  very  complex,  showing 
the  action  of  acids  and  various 
chemical  reactions  which  take  place 
in  the  dental  enamel.  Techniques  in- 
volving cycles  and  scratch-off,  often 
using  up  to  seven  eel  layers,  were 
necessary  to  show  movement  of 
mo'ecnles.  Time-lapse  photography 
is  employed  for  certain  sequences  — 
that  is,  the  movie  speeds  up  the 
action  that  occurs  in  real  life  over 
periods  of  days  or  months.  This  was 
accomplished  by  using  good  color 
transparencies  that  spanned  the  de- 
sired time  intervals.  By  aligning 
them  carefully  and  by  timing  brief 
dissolves  between  them,  it  was  poss- 
ible to  achieve  time-lapse  animated 
movement.  Where  the  scene  involves 
X-ray  pictures,  life  and  action  were 
attained  with  pans,  zooms,  top- 
lighting,  burn-ins  on  the  second  run, 
pop-on  arrows,  and  other  techniques. 
The  Sturgis-Grant  people  believe  this 
film  is  about  as  complex  as  will  be 
found  anywhere  with  respect  to 
structural  animation,  and  for  this 
complicated  work  the  Oxberry  stand 
was  well  suited. 

Sturgis-Grant     recently     made     a 

series  of  8mm  color  films  for  Esso 

Please  turn  to  page  17 

International  Projectionist        October,  1964 


Futuras  Popular  in  Younqstown 


Clean,  attractive  projection  booths  seem  to  be  the  rule  in  Voungstown,  Ohio 
theatres.  Here  is  another  installation  of  the  new  Strong  Futura  projection  arc  lamps 
in  that  city  —  at  Boardman  Plaza  Theatre.  Operating  the  Futuras  is  projectionist 
Mike  J.  Kohawski,  of  IATSE  Local  388.  


STATEMENT  REQUIRED  BY  THE  ACT  OF 
AUGUST  24,  1912,  AS  AMENDED  BY  THE 
ACTS  OF  MARCH  3,  1933,  JULY  2,  1946 
AND  JUNE  II,  I960  (74  STAT.  208) 
SHOWING  THE  OWNERSHIP,  MANAGE- 
MENT,   AND    CIRCULATION    OF 

INTERNATIONAL     PROJECTIONIST 
Published  monthly   ot  Mom   Postotfice,   Min- 
neapolis, Minnesota  for  Octboer,    Iy64 

1 .  The  names  and  addresses  of  the  pub- 
lisher, editor,  managing  editor,  and  business 
managers  are: 

Publisher,  Frank  W.  Cooley,  Jr.,  Min- 
neapolis,    Minn. 

Editor  Frank  W.  Cooley,  Jr.,  Minneapolis, 
Minn. 

Managing  editor,  Ray  Gallo,  New  York, 
N.    Y. 

Business   manager,    None. 

2.  The  owner  is:  (It  owned  by  a  corpora- 
non,  its  name  and  address  must  be  stated  and 
also  immediately  thereunder  the  names  and 
addresses  or  stockholders  owning  or  holding 
I  %  or  more  of  total  amount  ot  stock  If  not 
owned  by  a  corporation,  the  names  and  ad- 
dresses of  the  individual  owners  must  be 
g.ven.  It  owned  Dy  a  partnership  or  other 
unincorporated  firm,  its  name  and  address, 
os  well  as  that  or  each  individual  mem- 
L^-r,     must     be     given.) 

Northern  Publishing  Co.,  Minneapolis,  Minn. 
Frank    W.    Cooley,    Jr.,    Minneapolis,    Minn. 
Rita     Cooley,     Minneapolis,      Minn. 

3.  The  known  bondholders,  mortgagees,  and 
other  security  nolders  owning  or  holding  I  % 
ur  more  ot  total  amount  of  bonds,  mort- 
gages, or  other  securities  are:  (If  there  are 
none,     so     state.)     None. 

4.  Paragiaphs  2  and  3  include,  in  cases 
where  the  stockholder  or  security  holder  ap- 
pears upon  the  books  of  the  company  as 
trustee  or  in  any  other  fiduciary  relation, 
the  name  of  the  person  or  corporation  tor 
whom  such  trustee  is  acting;  also  the  state- 
ments in  the  two  paragraphs  show  the  af- 
fiant's full  knowledge  and  belief  as  to  the 
circumstances  and  conditions  under  which 
stockholders  and  security  holders  do  not 
appear  upon  the  books  of  the  company  as 
trustees,  hold  stock  and  securities  in  a 
capacity  other  than  that  ol  a  bona  fide 
owner. 

5.  The  average  number  of  copies  of  each 
issue  ot  this  publication  sold  or  distributed, 
through  the  mails  or  otherwise,  to  paid  sub- 
scribers during  the  i2  months  preceding  the 
date  shown  above  was:  (This  information  is 
required  by  the  act  of  June  11,  1960  to  be 
included  in  all  statements  regardless  of  fre- 
quency of  issue.)     5,721. 

F.    W.    COOLEY,    JR. 
Sworn     to     and     subscribed     before     me     this 
6th   day    of    October,    1964. 

THEODORE    GLAROS, 
Notary    Public,     Hennepin    County,     Minn. 
My  Commission   Expires  Sept.   23,    1969. 


G.  L  Carrington 
Named  VP  for 
Altec  Service 

Uvis    A.    Ward,    President    of    Mtec 

Lansing  Corporation,  Anaheim. 
Calif.,  has  announced  the  election  ol 
George  L.  Carrington,  Jr.  as  Vice 
President  of  Utec  Service  Corpora- 
tion. 

[n  Ids  announcement.  Mi.  Ward 
stated:  "'The  election  of  Mr.  Car- 
rington to  this 
important  post 
indicates  the  vi- 
tality of  the  com- 
pany's stepped- 
up  program  of 
expanding  its 
sen  ice  activities. 
not  only  in  the 
theatrical  field 
but  in  all  techni- 
cal and  related 
fields  where  the 
Altec  national  service  organization 
can   meet   a   required  need." 

Altec  Service  Corporation,  a  divi- 
sion of  Ling-Temco-Vought.  Inc.,  is 
regarded  as  one  of  the  largest  inde- 
pendent national  service  organiza- 
tions in  the  country.  It  originally 
was  formed  out  of  Electrical  Re- 
search Products,  Inc.,  a  Western 
Electric  subsidiary,  in  1937.  at  which 
time  it  assumed  the  responsibility  for 


Carrington 


International  Projectionist         October.  1964 


the  installation  of  a  major  portion 
of  the  motion  picture  industry's 
sound   reproducing  equipment. 

Carrington  assumed  the  respon- 
sibility as  General  Manager  of  Altec 
Service  Corporation  on  April  2, 
1962.  He  will  continue  to  carry  on 
this  responsibility  in  addition  to 
duties  related  to  his  newly  acquired 
position. 

Prior  to  his  association  with  Altec 
Service.  Carrington  had  been  with 
Altec  Lansing  Corporation  from 
1943  working  in  many  capacities 
throughout  the  company's  facilities. 
He  started  as  a  technician  in  the 
Environmental  Test  Laboratories  to 
the  position  of  General  Sales  Man- 
ager in  1962.  He  is  the  son  of  the 
late  George  L.  Carrington.  Sr. 
(deceased  in  1959),  widely  known 
pioneer  in  the  field  of  electronic 
sound  and  one  of  the  original  foun- 
ders   of    Altec    Companies.  IP 


lATSE's  Scanlon 
Is  Dead  at  88 

\\  illiam  C.  Scanlan.  senior  mem- 
ber of  the  Board  of  Trustees  of  the 
International  Alliance  of  Theatrical 
Stage  Employees,  died  Sept.  20  in 
Lynn,  Mass..  after  a  short  illness.  He 
was  88  years  old. 

A  native  of  Salem,  Mass..  Scanlan 
moved  to  nearby  Lynn  as  a  youth 
and  helped  form  Lynn  Stage  Em- 
ployees Local  73  in  1900.  He  was 
elected  business  agent  the  next  year 
and  continued  in  that  capacity  for 
the  rest  of  his  life.  For  a  number  of 
\ears,  he  served  also  as  secretary. 

He  was  appointed  an  International 
Representative  in  1921  and  was  elect- 
ed to  the  Board  of  Trustees  when  it 
was  established  in  1924.  Until  taken 
ill  a  few  weeks  ago,  he  continued  as 
a  Field  Man  in  the  New  England 
area,  establishing  many  new  locals 
and  assisting  them  in  negotiations. 
In  1949,  he  helped  bring  about  the 
absorption  of  the  last  vestige  of  the 
old  Knights  of  Labor  with  Boston 
Moving  Picture  Machine  Operators 
Local   182. 

Scanlan  was  a  former  president 
and  secretary  of  the  Lynn  Central 
Labor  Union  and  a  former  vice 
president  of  the  Massachusetts  State 
Federation  of  Labor.  In  1948,  he  was 
appointed  to  represent  the  amuse- 
ment industry  on  the  Massachusetts 
Minimum  Wage   Commission.        iP 

15 


National  General  Opens  New 
Fox  Theatre  in  Los  Alamitos 


The  new  $350,000  Fox  Theatre,  which  opened  July  15  with  a  gala  pre- 
miere in  the  Rossmoor  Shopping  Center  in  Los  Alamitos,  Calif.  (Orange 
County),  underscores  National  General  Corporation's  continuing  program  of 
motion  picture  theatre  expansion  in  shopping  centers,  according  to  Eugene  V. 
Klein,  NGC  chairman  and  president. 


The  838-seat  deluxe  showcase  is 
the  latest  in  NGC's  announced  plans 
to  add  theatres,  conventional  and 
drive-ins,  to  its  circuit  of  217  show- 
houses  in  16  Western  and  Mid-west- 
ern states  during  the  next  three 
years. 

In  the  expansion  program,  Klein 
said,  continuing  attention  will  be 
given  to  the  erection  of  theatres  in 
major  shopping  centers,  following 
the  pattern  set  last  year  when  NGC 
opened  shopping  center  showhouses 
in  Albuquerque,  New  Mexico,  and 
Palos  Verdes.  Northridge  and  Thou- 
sand Oaks  in  the  Los  Angeles  metro- 
politan area. 

The  ultimate  in  theatre  construc- 
tion, the  Fox  Rossmoor  is  equipped 
with  the  latest  projection  equipment 
and  a  25x50  screen,  including  Ampe^ 
stereophonic  four-track  sound.  Cli- 
mate controlled  refrigeration  to  in- 
sure comfort  for  patrons  has  been 
installed.  The  theatre  features  mod- 
ern Bodiform  chairs  built  by  Ameri- 
can Seating  Company. 


The  Fox  Rossmoor,  designed  bv 
Burke,  Kober  and  Nicolais,  Los  An- 
geles architectural  and  engineering 
firm,  working  with  J.  Walter  Bantau, 
Fox  West  Coast  Theatres'  construc- 
tion chief,  features  a  unique  drive- 
through  entryway  which  curves  di- 
rectly in  front  of  the  theatre  entrance 
making  it  easier  for  patrons  to  dis- 
embark  at   the  ticket   window. 

For  extra  convenience,  the  archi- 
tects have  added  an  unique  con- 
crete canopy  which  shades  the  entire 
building  front,  and  the  drive-in  ap- 
proach. A  special  metal  fascia  em- 
phasizes the  canopy's  distinct  design 
and  accents  the  overhead  illuminated 
letters  which  spell  out  the  theatre's 
name. 

The  exterior  of  the  11,500-square 
foot  building  is  distinguished  bv 
white  concrete  columns,  separated  by 
brown-toned,  oblong  block  fillers.  A 
decorative  center  grill  of  perforated 
cement  blocks  above  the  main  en- 
trance also  aids  the  theatre's  archi- 
tectural appeal.  Also  highlighting  the 


exterior  are  three  pair  of  glass  entry 
doors  which  are  flanked  to  the  right 
by  a  ticket  window  and  to  the  left 
by  a  display  case. 

The  interior  of  the  theatre  fea- 
tures a  large,  carpeted  foyer,  with  a 
complete  concessions  counter,  vend- 
ing machines,  an  open  ticket  counter, 
and  restroom  facilities.  All  have  been 
placed  around  the  perimeter  of  the 
lobby  to  provide  patrons  with  un- 
encumbered access  to  the  auditorium 

Carpeted  aisles  divide  the  audi- 
torium into  three  sections.  In  addi- 
tion, a  third  carpeted  or  cross  on 
aisle  was  used  above  the  center  sec- 
tion to  facilitate  customer  traffic.  Lo- 
cated above  the  rear  of  the  auditori- 
um is  a  mezzanine,  housing  projec- 
tion room,  offices,  dressing  rooms 
for  the  ushers,  and  space  for  air- 
conditioning  and  other  mechanical 
equipment.  Ruane  Corp.,  San  Gabri- 
el, was  the  contractor. 

In  the  projection  booth,  Simplex 
X-L  projectors  are  used  in  conjunc- 
tion with  Kollmorgan  and  Bausch  & 
Lomb  lenses,  Strong  Electric  Futura 
II  lamps.  Ampex  sound  equipment  is 
used;  Golde  rewinds  and  Kneisley 
rectifiers  complete  the  major  booth 
equipment  picture.  Roy  Quinn  was 
named   to   manage   the  new   theatre. 

iP 


The  mcdern,  bright  marquee  of  the  Fox  Theatre  invites 
patrons  to  enjoy  the  comfort  of  the  interior  and  the  enjoy- 
ment of  excellent  features. 

16 


The  838-seat  auditorium  of  the  new  Fox  Theatre  re- 
cently opened  by  National  General  Corporation  in  the 
Rossmoor  Shopping  Center  at  Los  Alamitos,  California. 

International  Projectionist        October,  1964 


Frank  H.  Riffle 
New  President  of 
Carbons-Xetron 


Frank  H.  Riffle,  formerly  i-i 
charge  of  engineering  sales  for  Car- 
bons,  Inc.  anil  a  pioneer  in  the  sound 
projection  field,  has  ju>t  been  elected 
President  to  succeed  the  late  Edward 
Lachman,  founder  and  head  of  the 
Carbons-Xetron  organization. 

Under  Riffle's  supervision  and  di- 
iection  on  the  Board,  which  also  in- 
cludes the  late  founders  wife,  the 
company  says  it  will  continue  to  ac- 
quire and  distribute  complete  lines 
of  modern  motion  picture  projection 
power  and  systems. 

One  of  the  last  acquisitions  is  the 
(  inemeccanica  Projector,  manufac- 
tured in  Italy.  This  multi-purpose 
V8  35-70mm  system  is  standard  con 

vertible  type  and  designed  for  fast 
and  easy  change  from  either  35  to 
71 '   or  \  ice  versa. 

The  Xetron-Cinemeccanica  Projec- 
tion System  will  be  sold  to  author- 
ized theater  supply  dealers  all  over 
the  country.  A  special  model  was  on 
display  at  the  recent  TKSM  \- Allied 
Exhibitors  Trade  Show  held  ii 
Detroit.  il* 


Metro-Gold  wyn-Mayer's 
Merle  Chamberlain 
Outlines  Print  Saving  Plan 

Merle  Chamberlain,  supervisor 
of  post-production  activities  at 
MCM.  spoke  at  the  IATSE 
convention  in  Louisville,  where  he 
outlined  MGM's  new  Iv  -dev  eloped 
process  for  preventing  loss  of 
printed  numbers  which  designate 
the  sequence  of  film  reels. 

"The  problem  which  result- 
when  film  leader  is  destroyed  or 
cut  has  resulted  in  development  at 
MGM,'  Chamberlain  said,  "of  a 
new  numbering  process  wherein 
the  reel  number  as  well  as  a  repeat 
of  the  title  have  been  moved 
between  sync  foot  numbers  5  and 
6,  thus  preventing  a  loss  of  these 
numbers  through  destructive 
handling  of  film  or  snipping.  The 
new  procedure  is  now  standard 
practice  at  MGM." 

In  a  major  speech  to  the  con- 
vention. Chamberlain  also  de- 
plored projection  inadequacies  in 
many  theatres  in  the  I  nited  States 
as  well  as  abroad.  iP 


Sturgis-Grant 

Continued  from  p«ge  14 


Chemical  Company  on  the  subject  of 
fertilizers.  Original  photography  was 
on  16mm  color  film,  later  reduced 
to  8mm  and  put  into  Technicolor 
cartridges  for  fool-proof  projection 
in  the  field.  All  tbe  films  in  this 
series  are  for  release  in  foreign 
countries  and  are  made  without 
sound  in  order  to  avoid  the  language 
problem.  Each  print  of  the  series  is 
accompanied  bv  a  written  script 
with  story  board  sketches  to  show 
where  the  narration  matches  the 
picture,  which  allows  the  representa- 
tive in  anv  foreign  country  to  use 
his  own  words.  To  "freeze'  a  parti- 
cular scene,  he  tnerelv  presses  a 
stop-motion  button  if  he  wishes  to 
explain  something  or  more  fully 
answer  a  question. 

The  first  five-minute  film  of  the 
series  is  titled  "What  Is  Fertilizer?" 
Made  entirely  in  animation,  this  film 
explains  that  plants  need  food  to 
grow  just  as  man  does.  Other  films 
in  the  Esso  series  involve  soil  testing. 
the  Stor)  of  nitrogen,  potassium. 
phosphorus,  and  the  like.  Since  they 
are  designed  to  be  shown  in  South 
America  and  other  lands  where 
man)  people  have  never  heard  of 
fertilizers,  they  had  to  be  made  so 
those  who  have  never  been  to  school 
can  get  the  message  —  this  job  was 
handled  most  effect ivelj  using  simple 
drawings  and  symbols  which  were 
photographed  on  the  Oxbcrrv  anima- 
tion  stand. 

Animation  techniques  were  also 
used  by  Sturgis-Grant  on  a  film  that 
was  produced  for  the  Lutheran 
Church  of  America.  The  church  is 
now  faced  with  a  world  which  has 
expanding       and        rapidly -changing 

Please  turn  to  page   18 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment    Division 
100    E.   42nd    St.,    New   York    17,    N.Y. 


America's 
headquarters 

lor  all 
theatre  equipment 


supplies 


National 

THEATRE  SUPPLY  COMPANY 


THE  VERY  FINEST 


PROJECTOR  PARTS 


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The  ultimate  in  precision,  long  life  and  dependability — 
they  keep  projectors  in  top  operating  condition  essential 
to  good  pictures,  patron  satisfaction  and  good  business. 
Available  through  your  Theatre  Equipment  Dealer. 


MACHINE   WORKS 

4635  W.  LAKE  ST.,  CHICAGO  44,  ILL. 
TELEPHONE— AREA  312— ES  8-1636 


International  Projectionist         October.  1964 


17 


Sturgis-Grant 

Continued  from  page  17 

concepts,  some  of  which  may  alter  or 
come  into  conflict  with  existing 
church  dogma.  The  population  ex- 
plosion, life  on  other  planets,  and 
similar  problems  eventually  may 
throw  a  different  light  on  our  former 
ideas  and  concepts.  The  church 
is  meeting  this  situation  head-on  by 
creating  a  film  which  will  be  shown 
at  its  annual  convention  this  summer. 
The  30-minute.  black  and  white. 
16mm  film  has  a  montage  sequence 
of  children,  stellar  objects  and 
microbiological  organisms,  which 
were  shot  on  the  Oxberry  stand  using 
still  photos  and  artwork. 

Sturgis-Grant  is  especially  proud 
of  a  one-minute  spot,  "Butterflies," 
whose  artistry  stems  from  the  imag- 
ination of  Philip  Stapp.  Shot  in 
35mm  color,  this  is  released  also  on 
16mm,  and  was  photographed  in 
two  sections,  the  first  involving  nor- 
mal animation,  while  the  second 
utilizes  a  multiple  effect.  The  entire 
film  is  made  up  of  butterflies  of  ir- 
ridescent  hues  fluttering  in  beautiful 
formations.  Approximately  1500  eels 
were  used  for  this  job,  some  showing 
one  or  two  insects,  others  showing 
large  groups  in  flight.  As  the  butter- 
flies move  across  the  screen,  the 
wings  move  to  show  the  colors  on 
top  and  bottom.  For  example,  you 
may  first  see  yellow  on  top  of  the 
wings,  and  then  other  colors  on  the 
underwings,  as  the  insects  tilt  and 
soar  through  the  air.  The  larger 
groups  of  butterflies  are  shown  in 
formation,  and  occasionally,  another 
insect  flies  in  from  the  side  to  join 
the  formation.  By  positioning  sev 
eral  photos  on  the  Oxberry  stand, 
pleasing  effects  we.e  achieved  by- 
panning  from  one  to  another  to  give 
the  viewer  the  feeling  that  different 
groups  of  butterflies  are  constantly 
entering   and   leaving  the  screen. 


"The  Gift"  is  the  title  of  a  35mm, 
color,  20-minute  religious  subject 
that  Sturgis-Grant  produced  for  the 
Protestant  Council  of  Churches. 
Philip  Stapp  again  wrote  and  direct- 
ed the  film,  most  of  which  is  illus- 
trated in  his  unusual  and  effective 
style  of  animation.  The  opening 
scene  shows  the  universe  with  con- 
tinuous movement  out  in  space  and 
leads  smoothly  into  the  story  of  the 
life  of  Christ.  There  is  no  narration 
for  the  seven  minutes  it  takes  to  tell 
this    story,    but    an    original    music 

18 


score  accompanies  the  pictures.  The 
remainder  of  the  film  deals  with  the 
history  and  growth  of  the  Church  to 
the  present  day,  and  the  responsibili- 
ties of  a  true  Christian. 

In  this  film.  Mr.  Stapp  wanted  to 
create  the  impression  that  there  were 
more  people  present  than  were  shown 
in  the  original  scene.  To  do  this, 
Sturgis-Grant  created  triple-  effect 
images  under  the  Oxberry  camera, 
employing  the  same  background  sev- 
eral times  in  separate  passes.  With 
the  shutter  opened  only  %  for  each 
exposure,   the   scene   was   moved   by 


means  of  the  peg  bars  at  a  selected 
speed  for  the  first  exposure,  at  a 
faster  speed  for  the  second  exposure, 
and  still  faster  for  the  third  exposure. 
After  each  exposure,  the  film  was 
rolled  back  in  the  camera,  and  the 
artwork  and  peg  bars  were  returned 
to  the  starting  point  for  the  scene. 
In  this  manner,  the  viewer  sees  a 
triple-image  effect  on  the  screen  and 
gets  the  impression  there  are  three 
times  as  many  people  as  were  shown 
on  the  original  drawing.  Cross- 
dissolves  and  fades  were  done  with 
the  automatic  devices  which  are  built 
into  the  Oxberrv  camera.  iP 


PROJECTOR 
CARBONS 


In  an  animated  scene  from  Sturgis- 
Grant  Studios  film  on  diabetes,  the 
clarity  which  typifies  the  Oxberry  ani- 
mation stand  technique  is  easy  to  spot. 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport.  Pa. 


-:~     -*  ^ 


I 


As  Disastrous  As  No   I 
I     Spare  in  the  Desert, 
Is  No  Spare  in  the  Booth 


For  want  of  an  extra  mirror, 
business  can  be  lost  by  shut- 
down. 


FIRST  SURFACE  COLD 
DICHROIC  REFLECTOR 

Better  yet,  also  replace  your  old  reflectors  now  with  these 
modern,  long -service  reflectors  with  the  harder  than  glass, 
flake  and  peel-proof  front  coating. 

THE  COATING  IS  GUARANTEED  FOR  2  YEARS! 


^k># 


corporation 


CITY   PARK   AVENUE    •    TOLEDO,    OHIO   43601     •    PHONE:   (419)   248-3741 


International  Projectionist        October.  1964 


Investment  Opportunity 


The  tools  this  young  apprentice  is  learning  to  make  will 
one  day  be  used  to  turn  out  your  company's  products. 

A  great  investment  in  time,  money,  effort  and  faith 
will  have  to  go  into  making  him  productive.  Every  one 
of  us  has  a  stake  in  his  success — and  every  one  of  us 
must  invest  something — for  on  the  developing  skills  of 
America's  young  tool-makers  depends  the  continued 
functioning  of  all  industries. 

You  can  protect  your  investment  by  joining  with  other 
leading  American  businessmen  to  promote  the  Treas- 
ury's Payroll  Savings  Plan  for  U.S.  Savings  Bonds.  The 
Treasury  Department's  Plan  helps  safeguard  the  individ- 


ual liberties,  and  encourages  the  industrious  and  respon- 
sible attitudes  so  necessary  for  the  growth  of  our  econ- 
omy and  the  well-being  of  our  society. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll — 
you  are  investing  in  the  next  generation  of  America's 
skilled  craftsmen  and  technicians.  You  are  investing  in 
our  future.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  to  the 
Treasury  Department,  United  States  Savings  Bonds 
Division,  Washington,  D.C.,  20226. 


in  your  plant... promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS     W$m 


*  The  U.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism,  The  Advertising  Council  and  this  magazine. 


eTJFION 


presents 


THE  MULTI-PURPOSE  V-8 


Advanced  design, 
as  exemplified  by 
the  renowned 
CINEMECCANICA 
engineering,  has 
produced  THE  pro- 
jector to  meet  the 
requirements  for 
the  present  AND 
the  future. 


The  CINEMECCANICA  35/70  mm  projection  system 
represents  a  time-proven  achievement  in  integrated 
construction-design,  acclaimed  as  the  outstanding 
development  of  its  type  in  many  years.  It  includes 
such  features  as: 

.  LARGE  DIAMETER  SPROCKETS 
.  AUTOMATIC  LUBRICATION 

•  6,000  FT.  MAGAZINES 
.  BUCKLE-FREE  FILM  GATE 

•  "SWINGING"  CINEMASCOPE  LENS  MOUNT 


COOLING  SYSTEM 


The  combined  effects  of  a  highly  efficient  turbo  fan 
and  vanes  on  the  conical  shutter  provides  cooling  of 
the  film  gate  area.  The  dual  water  cooling  system  is 
provided  with  each  projector  but  is  used  only  with  arc 
currents  in  excess  of  100  amperes. 


CONICAL  SHUTTER 

All  V-8  Projectors  use  a  two-blade  (1440  R.P.M.)  coni- 
cal shutter  in  the  most  effective  position  for  maximum 
light  transmission  without  flicker. 

The  system  is  designed  for  fast,  easy  change  from  35 
to  70  mm  or  vice  versa.  Dual  purpose  sprockets  and 
eccentrically   mounted  pad   rollers   make   this   possible. 


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THE  CINEMECCANICA  V-8 

STANDARD  CONVERTIBLE  PROJECTION  SYSTEM 

featuring  the  same  heavy  duty  projector  as  used  in  the 
35/70  mm  system  and  has  been  designed  to  permit  con- 
version to  35/70  mm  at  a  later  date.  This  has  been  done  as 
a  service  to  the  exhibitor  who  feels  he  may  need  the  dual 
purpose  equipment  at  a  later  date,  thus  making  the  purchase 
of  this  system  a  wise  investment. 


'    '  Write  for  Illustrated  Brochure 


a  division.of  CARBONS,  Inc.,  Boonton,  N.  J. 
Sold  through  Motion  Picture  Dealers 


HKn 


INTERNATIONAL 

II  il  ill  W;MI  y  1 1 1MM I 


11LJI 


» t 


I"  5 

I 


If 


This  is  the  projection  booth  at  The  Community, 
the  new  Walter  Reade-Sterling  Theatre  in  Eaton- 
town,  N.  J.  The  projection  machines  utilize  Simplex 
pedestals,  Ashcraft  Core-Light  lamp  houses,  and  the 
sound   is  Phillips  Norelco  transistor. 


*0*CI  *9Z  uo^3uxi{SB^ 


NOVEMBER 
VOLUME  39 
40c  A  COPY 


1964 

NUMBER  11 

$3.00  A  YEAR 


^1' 


'National'  projector  carbons? 


Plenty!  Lobby-stand  sales  pay  a  welcome  share  of 
theatre  overhead.  Sales  depend  on  theatre  box  office 
. . .  and  to  build  box  office  there  is  no  substitute  for  a 
top-notch  show  supported  by  top-notch  screen  illumi- 
nation. Yes,  popcorn  and  "National"  projector  car- 
bons do  have  a  lot  in  common.  Both  give  the  customer 
his  money's  worth  in  entertainment  and  pleasure. 

"National"  projector  carbons  are  an  investment  — 
never  a  house  expense.  They  have  been  the  last  word 
in  patron-pleasing  lighting  for  nearly  50  years! 


UNION 
CARBIDE 


"National"  is  a  registered  trade-mark  of 

UNION  CARBIDE  CORPORATION 

CARBON  PRODUCTS  DIVISION 

270  Park  Avenue  •  New  York,  N.Y.  10017 

In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL 

PROJECTIONIST 


Volume  39 


Nov.  1964 


No.  11 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment   Editor 


RAY   GALLO  ASSOCIATES 

National    Advertising    Representatives 

545    Fifth   Avenue.    New   York,    N.  Y.,    10017 

Telephone   Murrayhill    7-7746 

(Area   Code   212) 


IN  THIS  ISSUE 


Read's   Community   Theatre 


Sound   Track 


"Heartening"    Industry  Picture 


Charlotte's  Capri  Theatre 


4 
6 
8 

11 


News    Notes  —  Technical    Hints  —  Miscellaneous   Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
International  Projectionist  Publishing  Co.  division  of  The 
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copyrighted  1964  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO.  <^^feo 


International  Projectionist         November,  1964 


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The  Eatontoivn  Cinema  Centre  is  evidenced  in  this  theatre.  Forming  this  new 
entertainment  complex  of  the  Walter  Reade-Sterling  organization  in  Eatontown.  N.  J., 
is  the  long-established  Eatontown  Drive-In  Theatre,  ivhose  screen  tower,  con- 
cessions and  projection  booth,  and  ramps,  are  in  the  foreground.  In  the  background, 
between  the  trees,  is  the  Colonial-styled  new  Community  Theatre.  Patrons  may  enter 
the  Community  through  the  Drive-In  Theatre.  The  Drive-In  is  a  year-round  opera- 
tion,  equipped   ivith    in-car   heaters. 


New  Theatre  "Entertainment  Complex"  Pays 
Off  In  Sight  and  Sound  Techniques 


EATONTOWN,  N.  J.— The  Com- 
munity Theatre,  newest  unit  of  the 
rapidly  expanding  Walter  Reade- 
Sterling,  Inc.,  organization,  uniquely 
is  part  of  an  entertainment  complex 
known  as  the  "Eatontown  Cinema 
Centre"  in  the  popular  North  Shore 
area  of  New  Jersey.  Built  adjacent 
to  the  circuit's  existing  Eatontown 
Drive-In,  with  a  common  entrance 
to  parking  facilities  for  nearly  2000 
cars,  the  Centre  offers  patrons  the 
choice  of  outdoor  drive-in  movie- 
going,  or  accomodations  in  the  de- 
luxe new  conventional  theatre. 

Early  American  in  its  architec- 
ture and  decor — with  a  brown 
shingled  roof,  barn-red  sidings,  and 
a  white  colonnade  front,  the  Com- 
munity accomodates  900  people. 
Opened  in  late  August  (August  26, 
1964 )  it  is  a  virtual  duplication  of 
the  organization's  Community  in 
Cherry  Hill,  N.  J.,  which  opened 
just  a  year  ago  (August  1963)  and 
has  received  architectural  awards  for 
its  design  and  decor. 

The  new  theatre  and  the  drive-in 


occupy  a  large  portion  of  the  front- 
age on  what  is  known  as  the  "Eaton- 
town Traffic  Circle"  on  Route  35  in 
Eatontown  in  Monmouth  County, 
N.  J.,  which  is  one  of  the  fastest 
growing  areas  in  the  nation.  A  ma- 
jor shopping  center  is  on  the  other 
side  of  the  circle. 

The  new  theatre  is  playing  a  first- 
run  policy,  with  the  same  screen  fare 
often  offered  simultaneously  at  the 
Drive-In.  Combined  facilities  will  en- 
able the  two  theatres  to  handle  more 
than  3000  people  at  a  time.  Patrons 
may  enter  the  Community  directly 
from  a  side  road,  but  the  main  en- 
trance is  through  the  Drive-In  The- 
atre. The  complex  is  unique  in  the 
respect  that  it  contains  the  two  sep- 
arate theatres,  which  operate  as  an 
entity. 

Despite  its  18th  Century  decor, 
the  theatre  is  modern  in  all  respects, 
with  transistor  sound,  push-back 
seating,  extra-wide  seating  rows  to 
assure  ample  patron  leg  room,  a  20 
by  40  foot  screen,  and  the  newest 
projection  equipment. 


The  Walter  Reade-Sterling  organ- 
ization pioneered,  starting  several 
decades  ago,  with  a  Community  type 
theatre  which  had  a  Colonial  white 
pillar  colonnade,  and  no  marquee. 
These  theatres,  which  were  finished 
with  red  brick  outer  walls  are  lo- 
cated in  Morristown.  Trenton,  and 
Toms  River  in  New  Jersey,  and 
Kingston  and  Saratoga  in  upstate 
New  York.  The  new  Eatontown  and 
Cherry  Hill  Communities  maintain 
the  same  no-marquee,  white-colon- 
nade front,  but  have  red  wood  sid- 
ings and  brown  shingled  roofs. 

At  the  new  complex,  an  attractive 
board  for  the  Community  is  located 
away  from  the  theatre  and  fronting 
on  the  traffic  circle.  The  drive-in 
has  its  own  separate  attraction  board 
at  its  entrance. 

The  Community  is  situated  within 
30  feet  of  the  road,  separated  by  an 
island  of  shrub  planting,  and  a  paved 
drive.  One  attraction  case  is  on  either 
side  of  the  glass  doors,  and  represent 
the  only  advertising  on  the  complete 


(Please  turn  to  page  10) 
International  Projectionist         November,  1964 


m~* 


flnilMIMn... 


A  night-time  view  of  The  Community,  the 
neu  11  alter  Reade-Sterling  Theatre  in  the 
EatOntOWn      Cinema      Centre      entertainment 

complex  in  Eatontown  in  the  populous  North 

Jersey  Shore  area.  With  the  adjacent  Eaton- 
loan  Drive-In  Theatre,  the  neu  Cinema 
Centre  gives  movie-goers  the  choice  of  see- 
ing a  film  program  either  in  the  outdoor 
theatre,  or  in  the  neu  Community.  Jointly 
the  tuo  theatres  can  accommodate  several 
thousand  patrons  simultaneously. 


high     c  e  i  I  i  n  g 
painted    walls    all 


In     acoustically-treated 
draped    screen    and   plain 

lend  ii  feeling  of  spaccoiisness  to  the  000  seat 
Community,  newest  Walter  Reade-Sterling 
theatre  located  in  the  Eatontown  Cinema 
Centre  in  Eatontown,  V.  /.  This  is  the  view 
of  the  stadium-type  house,  looking  towards 
the  21)  by  40  foot  Pearl-Light  screen.  Cove 
lights  mid  air  conditioning  vents  stud  the 
ceiling.   Seats   are  Cnggs   push-hack. 


The  cleanness  and  simplicity  of  Colonial 
design  is  here  emphasized  in  the  entrance 
of  The  Community,  newest  of  the  50  theatres 
of  the  W  alter-Reade-Sterling  organization. 
Following  a  no-marquee  styling  pioneered  by 
the  Reade-Sterling  company,  the  new  the- 
atre merely  has  its  name  on  the  white  colon- 
nade, and  two  display  cases  to  show  current 
attractions.  A  large  attraction  board  along 
the  highway  and  removed  from  the  theatre, 
tells  passing  motorists  the  current  attractions. 
The  roof  is  brown-shingled ;  the  front  and 
sidings  of  wood,  painted  red.  The  style  of 
the  pillars,  the  exterior  coach  lamps,  and 
the  shrub  boxes  all  carry  out  the  early  Ameri- 
can decor.  Just  visible  through  the  glass 
panels  over  the  doors  is  a  large  bronze 
American  eagle. 

International  Projectionist         November,  1964 


A  settler  s  bench,  antique  mirror,  massive 
globed  chandelier,  beamed  ceiling,  wall  paper, 
and  unique  red-brick-designed  Karagheusian 
carpeting,  all  emphasize  the  early  American 
decor  that  is  the  hallmark  of  The  Commun- 
ity, newest  Walter  Reade-Sterling  Theatre. 
Patrons  entering  the  theatre  through  the 
white  colonnade,  pass  through  a  small  outer 
lobby  (at  which  the  cashier  is  stationed 
behind  an  open-faced,  drum-shaped  ticket 
dispensing  table),  into  this  inner  lobby. 
Entrance  to  the  stadium-type  auditorium  is 
through  the  doors  at  the  left,  and  a  similar 
set  of  doors  to  the  right  of  the  mirror.  The 
concessions  stand  is  recessed  into  the  left 
wall  of  the  lobby;  on  the  right  side  are  rest 
rooms  and  telephones.  The  manager's  office 
is  to  the  left  of  the  concessions  stand. 


Sound  Track 


by  J.  G.  Jackson 


While  reminiscing  about  some 
experiences  in  years  gone  by,  this 
Old  Timer's  thoughts  go  back  to  the 
days  of  silent  pictures  and  the  advent 
of  sound.  (I  presume  37  years  in 
projection  will  make  me  an  old 
timer.) 

One  unusual  experience  that  comes 
to  mind  is  the  time  I  ran  a  show  with 
only  three  amps  on  a  low  intensity 
arc.  I  was  barnstorming  small  towns 
in  a  remote  farming  area  and  I  had  a 
show  booked  for  a  small  place  that 
was  vertually  a  ghost  town.  I  found 
there  was  no  electricity  in  the  town 
as  the  local  power  plant  had  been 
closed  down.  The  plant  had  consisted 
of  a  small  D.C.  generator  driven  by 
an  old  steam  traction  engine.  I  man- 
aged to  locate  the  previous  steam 
engineer  and  prevailed  on  him  to 
"steam  up"  and  supply  power  for  the 
show. 

My  projection  equipment  consisted 
of  a  Holmes  portable  projector, 
which  had  a  make  shift  sound  head 
coupled  by  means  of  a  flexible  shaft. 
The  motor  was  A.C.  and  the  ampli- 
fier was  A.C.  The  arc  was  a  small 
low  intensity  rated  at  15  amps  power- 
ed directly  from  the  line  through  a 
variable  resistance.  To  supply  A.C. 
to  the  amplifier  and  motor  I  used  a 
small  rotary  converter. 

Shortly  before  show  time  the  steam 
engineer  managed  to  get  light,  so  I 
turned  on  the  sound  system  and  all 
was  fine,  But  when  I  tried  to  draw 
an  arc  the  line  voltage  went  flat.  I 
sent  a  rush  message  to  the  power 
plant  two  blocks  away  asking  for 
more  voltage,  the  reply  came  back 
NO  CAN  DO. 

The  old  steamer  just  would  not 
produce  any  more  power.  So  there  I 
was  fit  to  be  tied  with  not  enough 
power  to  supply  both  arc  and  sound. 

Not  wishing  to  give  up  and  quit,  I 
did  a  little  experimenting  and  I  found 
that  if  I  put  all  the  resistance  I  had 
in  the  arc  circuit  I  could  get  the 
carbons  to  sizzle  and  still  have 
enough  power  for  sound  and  motor. 
I  started  the  show  and  I  found  that 
I  could  get  some  light  on  the  screen 
from  the  sizzling  arc,  and  the  am- 
meter  showed    three   amps.     Luckily 

6 


we  had  a  short  throw  and  a  small 
screen  so  the  small  amount  of  light 
made  the  picture  visible. 

I  wiggled  through  the  entire  show 
by  keeping  both  hands  on  the  lamp 
controls,  one  to  keep  the  carbons  in 
the  right  contact  for  sizzling  and  the 
other  for  adjusting  the  mirror  so 
as  to  follow  the  sizzle  around  the  tip 
of  the  positive  carbon! 

What  a  night!  But  the  customers 
did  not  complain;  they  wanted  the 
show  and  they  understood  my  prob- 
lem. 

No  doubt  many  readers  have  had 
some  unusual  experiences  such  as 
this — so  how  about  dropping  me  a 
line  and  telling  me  about  them.  How 
about  some  humorous  incidents  ■ — 
come  on  Old  Timers,  reminisce  a 
little  with  me!  iP 


Film  Projector 
"Speaks"  13 
Languages 

NEW  YORK  —  Nine  times  a  day 
during  the  World's  Fair  just  closed 
audiences  in  the  500-seat  auditorium 
at  the  Sermons  from  Science  Pavil- 
ion (sponsored  here  by  the  Moody 
Institute  of  Science)  watched  sound 
movies  showing  the  interrelationship 
of  science  and  religion,  and  hear  a 
perfectly-synchronized  commentary 
in  French,  Japanese,  Norwegian, 
Swedish,  Spanish,  Italian,  Mandarin, 
German,  Korean,  Armenian.  Danish. 
Finnish,  Greek  and  English. 

At  each  seat  there  is  a  plastic  ear- 
phone and  a  five-position  switch. 
The  foreign-language  speaking  visi- 
tor uses  the  selector  switch  to  tune  in 
one  of  the  five  foreign  language 
sound  tracks  recorded  specifically 
for  that  film.  All  films  do  not  carry 
all  13  languages.  The  most  any  can 
carry  is  five  in  addition  to  English, 
and  these  five  vary  from  film  to  film. 

For  example,  the  film  shown  at 
12:00  noon  is  "Dust  or  Destiny," 
and  it  is  in  Mandarin.  Spanish. 
French,  German,  and  Japanese. 
"Hidden  Treasures,"  shown  at  4:00 
is  in  Danish.  German.  Japanese, 
Norwegian,  and  Swedish.  And  the 
6:00  film,  "The  Mystery  of  Three 
Clocks,"  is  in  German  only.  All  films 
have  an  English  language  commen- 
tary which  is  reproduced  by  the  main 
speakers  at  the  screen,  along  with  the 
music  and  sound  effects. 

All  these  languages   are  spoken 


At  the  Sermons  from  Science  Pavi- 
lion sponsored  by  Moody  Institute  of 
Science  at  the  New  York  World's 
Fair,  the  Garflex  16  projector  speaks 
English  like  a  native;  its  mechani- 
cally-linked other  voice-box  —  the 
Stancil-Hoffman  S-7  Reproducer  at  the 
right,  speaks  13  foreign  tongues,  five  at 
a  time. 

in  the  Sermons  from  Science  Pavil- 
ion by  a  Stancil-Hoffman  S-7  Re- 
producer which  plays  back  the  com- 
mentaries prerecorded  on  16mm 
magnetic  film.  It  is  mechanically 
linked  to  the  Graf  lex  16  sound 
motion  picture  projector  which 
shows  the  picture  and  picks  up  the 
optical  main  English  language, 
music,  and  sound  effects  sound  track, 
which  is  played  at  the  screen.  A  gear 
box  reduces  the  projector's  1440  rpm 
to  the  900  rpm  required  by  the  re- 
producer. This  mechanical  link  keeps 
pictures  and  languages  in  perfect 
synch,  so  the  program  does  not  turn 
into  a  modern-day  Babel. 

The  ingenious  sound-projection 
system  was  worked  out  at  the  Moody 
Institute  of  Science  in  California,  a 
ministry  of  the  Moody  Bible  Institute 
of  Chicago.  iP 

IP  DELAYED 

This  issue  and  a  subsequent  issue  of 
International  Projectionist  was  delayed 
by  difficulties  in  the  printing  plant 
which  produces  IP.  Compositors  and 
pressmen,  members  of  several  unions 
including  the  International  Typograph- 
ical Union,  were  on  strike  for  over 
a  month.  The  discussion  between  the 
company  and  the  several  unions  took 
place  while  IP  was  being  produced; 
naturally  production  had  to  be  stop- 
ped until  a  solution  was  reached  and 
the  picket  lines  withdrawn.  iP 


International  Projectionist        November,  1964 


Hatch  Elected  New 
President  of  TESMA 

DETROIT— Arthur  Hatch,  presi- 
dent of  Strong  Electric  of  Toledo, 
was  elected  president  and  chief  execu- 
tive officer  of 
Theatre  Equip- 
ment and  Sup- 
ply Manufactur- 
ers Association 
i  TESMA). 

He  has  been 
vice-president  of 
t  h  e  association 
since  1960.  Rich- 
a  r  d  Kneisle\ . 
who  has  been  a 
Hatch  member     of     the 

issociatJon's  board  of  directors  for 
several  sears,  was  elected  vice-presi- 
dent. Kneislcs  is  president  of  Kneis- 
lej  Electric  Corp..  also  of  Toledo. 
The  Hatch  election  was  forseen. 

Earn  \\  .  Davee.  president  of 
Century  Projector  Corporation  of 
New  York,  who  has  been  president 
of  TESMA  since  1060.  becomes 
chairman  of  board. 

Four  directors  of  TESMA  also 
were  elected  to  serve  three  years, 
namely  John  Currie.  General  Pre- 
cision Equipment.  William  Gedris. 
Sr..  president  of  Ideal  Seating  Com- 
pany of  Grand  Rapids:  Don  Peter- 
son  of  Bauscb  &  Lomb  and  Sol  Shur- 
pin.  president  of  Technikot  Corpor- 
ation.   Brooklwi. 

The  terms  of  president  and  vice- 
president  are  for  two  years.  Merlin 
Lewis  continues  as  Executive  Sec- 
retary and  Treasurer. 

Rapidly  advancing  technical  as- 
pects of  complex  mechanisms  of 
equipment  needed  to  operate  theatres, 
such  as  projection  machines,  carbon 
arc  lamps,  sound  systems,  etc..  has 
been  a  cause  for  concern  on  the 
part  of  theatre  equipment  dealers 
for  some  time,  because  of  lack  of 
thorough  current  knowledge  of  the 
equipment.  Theatre  Equipment  Deal- 
ers Assn.  has.  therefore,  requested 
Theatre  Equipment  &  Supply  Manu- 
facturers Assn.  and  other  unaffiliated 
manufacturers  to  meet  with  TEDA 
and  other  dealers  in  a  four  day  tech- 
nical session  in  Phoenix,  Arizona, 
March  13-16.  There  will  be  no  trade 
show  exhibit. 

TESMA  has  accepted  the  invitation 
on  behalf  of  its  own  organization. 

TEDA  plans  to  issue  invitations  to 
other  manufacturers  and  dealers  not 
affiliated  with  either  organization 
also  to  be  present  and  to  be  prepared 
to  explain  and  clarify  technical  as- 
pects of  the  equipment  they  manu- 
facture. 

The  Phoenix  meeting   is  expected 

International  Projectionist        Nov 


Shea 


to  be  one  of  several  similar  meetings 
expected  to  take  place  at  least  an- 
nually, and  entirely  apart  from  meet- 
ings of  TESMA  with  exhibitor  or- 
ganizations. TESMA  is  expected  to 
continue  its  practice  of  staging  year- 
ly trade  shows  at  which  manufac- 
turers exhibit  their  equipment  t  o 
theatre  owners  attending  annual  con- 
ventions. iP 


Shea  Named  Technical 
Services  Manager  For 
Carbon   Products   Division 
Of  Union  Carbide 

J.  W.  (Jack)  Shea  has  been  named 
to  the  newly-created  position  of 
manager  of  technical  services  for  the 
Carbon  Products  Division  of  I  nion 
Carbide  Corp. 
Mr.  Shea  will  be 
headquartered  at 
the  Di\  i-ion's 
Technical  Center 
now  under  con- 
struction at  Par- 
ma. Ohio,  and 
will  report  to  M. 
M.  Hand,  direc- 
tor of  marketing. 
In  his  new  po- 
sition. Mr.  Shea 
will  be  responsible  for  coordinating 
all  technical  service  activities  pro- 
vided to  customers  For  the  Divi- 
sion's complete  line  of  carbon, 
graphite,  and  high-temperature  re- 
fractory  materials. 

Most  of  the  division's  technical 
service  operations  are  now  located 
in  New  York  City,  and  the  trans- 
fer of  this  activity  to  the  new  Tech- 
nical Center,  giving  technical  ser- 
vice personnel  intimate  contact  with 
development  and  research  functions, 
is  expected  to  result  in  even  more 
effective  customer  service. 

Mr.  Shea  was  graduated  from 
New  York  University  with  a  B.  S. 
degree  in  mechanical  engineering  in 
1030.  and  joined  Union  Carbide  as 
a  salesman  in  1037  following  mar- 
keting service  in  the  petroleum  in- 
dustry. After  Air  Force  service  dur- 
ing World  War  II,  he  was  made  an 
industrial  carbon  products  salesman 
in  1047.  and  in  1053  became  man- 
ager of  electrode  and  carbon  refrac- 
tory products  technical  service.  Since 
January.  1062,  he  has  been  man- 
ager of  graphite  electrode  technical 
service  in  the  marketing  organiza- 
tion. Mr.  Shea  is  a  member  of  AIME, 
AISE,  NEMA,  and  the  Electrochemi- 
cal Society,  and  is  the  author  of  nu- 
merous papers  on  the  electric  arc 
furnace.  iP 

ember,  1064 


k 


look 

into 

Stewart 

Film  screens 

•  •  •  the 

choice 

oE 
experts 


FILMSCREENS  FOR  SHOWMEN-Stew- 

art  Projection  Screens-trie  choice  of 
15  major  exhibitors  at  the  New  York 
World's  Fair! 

ULTRAMATTE  —  for  commercial  play- 
houses, theatre  TV.  viewing  rooms  ■ 
Seamless  to  46  by  88  feet  ■  Optical 
efficiency  ■  Durable  economy. 
LUXCHROME  50 -seamless  rear  pro- 
jection ■  Superior  image  contrast  in 
ighted  rooms. 


FILMSCREENS  FOR  FILM  PRODUCERS 
-used  by  CBS  Studio  Center,  Colum- 
bia, Desilu,  Disney,  Fox.  Goldwyn, 
MGM.  Paramount.  Revue,  UPA,  Uni- 
versal, Warners. 

HI-TRANS- Academy  Award  back- 
ground screen-highest  calibre 
production  "tool." 

ULTRAMATTE  gain  white,  and  LUX- 
MATTE  white  matte— front  projection 
screens  ■  Demanded  by  studios  and 
film  labs  for  viewing  during  produc- 
tion, dubbing,  and  scoring. 
T-MATTE  BLUE- rear-illuminated 
screen  for  latest  traveling-matte 
process  ■  Practical  for  large  and 
small  sets,  major  productions,  or  TV 
commercials. 


► 


FILMSCREENS  also  designed  for  A-V; 
fairs,  trade  shows,  exhibits,  simula- 
tors, plotting  and  display  systems,  and 
special  architectural  requirements. 


H 


FILMSCREENS   FOR  TV  PRODUCTION 

TV-BLUE-background  screen  ■ 
Favorite  of  networks  ■  Versatile  ■ 
Efficient. 

LUXCHROME  60— neutral  gray  screen 
for  closed-circuit  techniques,  back- 
grounds and  rear  projection  viewing. 


STEWART  FILMSCREEN  CORP. 

1161  W.  Sepulveda  Blvd. 
Torrance,  Calif.  90503  (213)  326-1422 

I  want  to  look  further  into  Stewart  Film- 
screens.  Please  send  me  additional 

information  on: 

NAME 

STREET 

CITY STATE 


A 


NEW  INSTALLATION  —  National  Ventarcs,  the  powerful  blown  arc  type 
projection  lamps,  have  been  installed  in  the  Indian  Hills  Cinerama  Theatre, 
Omaha,  Nebr.,  which  has  embarked  on  the  presentation  of  the  new  Cinerama 
technique.  Shown  with  these  big  lamps  is  Alvin  G.  Kostlan.  Literature  on  this 
equipment  will  be  sent  to  those  addressing  a  request  to  the  Strong  Electric  Corp., 
31  City  Park  Ave.,  Toledo,  Ohio  43601. 

Hetzel  Tells  SMPTE 
Industry  is  'Heartening' 


Addressing  the  opening  luncheon 
of  the  Society  of  Motion  Picture  and 
Television  Engineers  Conference. 
Ralph  Hertzel.  acting  president  of 
the  Motion  Picture  Association  of 
America,  Inc.,  commented  on  the 
close  working  relations  in  the  pro- 
duction of  motion  pictures  for  both 
theatres   and  television. 

Commenting  on  the  exceptional 
film  business  during  the  past  sum- 
mer, Hetzel  stated:  "Already  this 
year  an  extraordinary  record  has 
been  rolled  up  in  motion  picture 
theatres.  The  first  eight  months  of 
1964  showed  an  average  increase  in 
the  United  States  domestic  film  ren- 
tals for  our  member  companies  of 
about  20%  over  1963.  Of  course, 
some  companies  did  better  than  oth- 
ers. That's  the  rule  of  our  highly 
competitive  business. 

"Last  week,  when  in  London.  I 
had  reports  that  boxoffice  returns  in 
Great  Britain,  a  market  that  has  had 
drastic  declines  in  theatre  attendance, 
had  increased  in  1964  at  a  percent- 
age not  much  less  than  that  in  the 
United  States,  for  the  first  six 
months. 

"I    think    this    resurgence    in    the 


United  States,  as  well  as  abroad,  is 
far  more  than  a  flash  in  the  pan. 
As  an  economist.  I  see  ahead  a  lone 


secular  upward  sweep  of  population 
and  economic  developments  that 
promise  to  lift  our  business  in  the 
same  direction." 

Hetzel  further  emphasized  the 
broad  scope  of  the  recent  upward 
surge  of  film  business  when  he  stat- 
ed: "The  new  vitality  and  freshness 
of  films,  and  the  production  of  films 
aimed  at  special  audiences  have  at- 
tracted more  and  more  people  back 
to  the  movies.  The  quality  of  prod- 
uct today  is,  in  my  judgment,  su- 
perior to  any  we  have  enjoyed  at  any 
time.  Film  makers  still  make  mis- 
takes —  it  is  notoriously  hard  to 
predict  the  taste  of  the  American 
public  in  advance,  but  they  are  ob- 
viously doing  a  better  job  of  match- 
ing public  taste  with  appropriate 
product  than  ever  before. 

"This  is  a  very  subjective  area, 
and  hard  to  evaluate.  However,  a 
leading  exhibitor  publication  report- 
ed last  week  that  a  five-year  record 
has  been  set  this  summer  in  the 
number  of  films  which  have  won 
exceptional  public  acclaim. 

"Boxoffice  magazine  stated  that, 
of  the  64  feature  films  in  general  dis- 
tribution from  June  through  August, 
49.  ranked  in  what  the  magazine 
classifies  in  a  'top  hit'  classification 
in  terms  of  dollars  paid  at  the  box- 
office. 

"Put  another  way,  exhibitors  na- 
tionwide  claimed   that   over   76  per- 


W.  J.  Cosby  (right)  presents  a  plaque  to  TESMA's  retiring  president,  Larry 
Davee,  on  his  completion  of  four  years  as  TESMA's  president.  The  plaque  reads, 
"Presented  to  Larry  W.  Davee,  upon  his  retirement  as  president  of  the  Theatre 
Equipment  &  Supply  Manufacturers  Association  as  a  token  of  appreciation  for 
his  sincere  efforts  in  its  behalf.  1960-1964.  Detroit,  Michigan,  October  1964." 
Davee  becomes  chairman  of  the  board  of  directors  of  TESMA. 

International  Projectionist        November,  1964 


In  this  orderly  projection  room  is  shown  William  E.  Walsh,  president  of 
IATSK  Local  388.  The  new  Strong;  Futnni  projection  arc  lamps  have  just  been 
installed  in  this.  The  Lincoln  Knolls  Plaza  Theatre,  Youngstown,  Ohio.  Litera- 
ture on  this  equipment  will  be  sent  to  anyone  addressing  a  request  to  the 
Strong  Electric  Corp.,  31  City  Park  Avenue,  Toledo,  Ohio  43601. 


cent  of  tin-  current  films  were  above 
average  in  boxoffice  take. 

"New  trends  in  exhibition,"  Hetzel 
continued,  "strengthen  the  fact  that 
the  new  confidence  shown  bj  all 
members  of  the  industr)  is  hearten- 
ing." He  pointed  out  that  "exhibitors 
have  done  their  share  to  spark  mo- 
tion picture  resurgence,  1>\  making 
theatre-going  more  attractive.  Last 
year,  .320  new  motion  picture  thea 
tres  were  opened,  or  were  announce!1 
or  under  construction,  at  a  total  cost 
of  almost  $100  million.  Most  of  them 
were  small  or  medium-sized  houses 
in  shopping  centers — located,  need 
less  to  sa\.  where  the  people  are  and 
where  it  is  most  convenient  for  peo 
pie  to  go. 

"In  addition.  070  older  motion  pic- 
ture theatres  were  remodeled.  ISO 
old  ones  were  closed,  and  170  which 
had   been   closed    were    reopened." 

Referring  to  the  new  and  growing 
interest  of  young  people  in  motion 
pictures.  Hetzel  said:  "To  me.  the 
most  exhilarating  prospect  of  all  is 
the  growing  interest  and  excitement 
of  young  people  in  motion  pictures 
as  a  medium  of  e  pression.  I  feel  we 
are  confronted  with  evidences  that 
alert  and  intelligent  young  people, 
especially  at  colleges  and  universi- 
ties, are  looking  to  motion  pictures 
for  new  ways  of  expressing  their 
ideas  and  emotions.  If  the  young 
people  at  colleges  and  universities, 
while  in   school  and   later,  have  this 


growing  sense  of  interest  in  film-. 
the\  will  build  a  great  new  audience 
that  will  <all  forth  more  creative 
films  and  greater  films. 

"Just  lasl  week,  the  American 
Council  on  Education,  the  lop  coor- 
dinating   bod\     for    the    colleges    and 

universities   of  this  country,   held   a 

conference  at  the  Lincoln  Center  lo 
encourage  the  development  of  the 
stud)  of  film  at  collegiate  level.  Ii 
was  an  exciting  occasion  and  will.  I 
trulv  hope,  sow  the  seed  of  the  great 
er  growth   of   interest   in   this   field." 

IP 

Movie  Patents 
Now  Re-Classified 

Patent  Commissioner  Edward  J. 
Brenner  has  announced  a  revised 
classification  for  the  more  than  8,000 
patents  relating  to  the  field  of  optics 
and  motion  pictures.  He  stated.  "It  is 
an  important  re-classification  proj- 
ect grouping  all  of  the  significant 
advances  in  optics  together  in  one 
particular   subject    matter   category." 

The  re-classification  involved  the 
reclassifying  of  5.100  original  pat- 
ents. 3.421  cross  references  and  a 
technical  history  and  encyclopedia 
of  the  motion  picture  art. 

Copies  of  the  class  schedule  and 
definitions.  Class  352  Optics.  Motion 
Pictures  can  be  obtained  from  the 
Commissioner  of  Patents.  Washing- 
ton, D.  C.  20231  for  a  nominal 
charge.  iP 


Get  all  the  facts!  Ask  your  equip- 
ment dealer  for  the  new  1964 
Kollmorgen  Projection  Lens  Cata- 
log or  write  us  direct. 

«     KOLLMORGEX 

CORPORATION) 

NORTHAMPTON.      MASSA  CM  U  S  E  T  T  S 


International  Projectionist         November.  1964 


Ethan  M.  Stifle  Takes 
Over  As  SMPTE  Head 

Ethan  M.  Stifle,  manager  of  en- 
gineering services  for  the  Eastman 
Kodak  Motion-Picture  Products  Sales 
Department's  East  Coast,  division 
New  York,  has  been  elected  presi- 
dent of  the  Society  of  Motion  Picture 
and  Television  Engineers   (SMPTE). 

Th  e  SMPTE  president-elect  has 
served  as  sections  vice-president,  fi- 
nancial vice-president  and  executive 
vice-president  of  the  Society.  Last 
year  he  was  a  member  of  a  four-man 
delegation  that  studied  technical  de- 
velopments in  the  Soviet  motion-pic- 
ture industry  under  the  US-USSR  ex- 
changes program. 

Other  officers  named  in  the  recent 
ballot  are:  G.  Carleton  Hunt,  presi 
dent  of  DeLuxe  Laboratories,  Inc., 
New  York,  elected  executive  vice- 
president;  Herbert  E.  Farmer,  De- 
partment of  Cinema,  University  of 
Southern  California.  Los  Angeles,  re- 
elected editorial  vice-president;  Ken 
neth  M.  Mason,  general  manager  of 
the  Midwest  division,  Kodak  Motion- 
Picture  Products  Sales  Department. 
Chicago,  elected  conference  vice- 
president:  and  Robert  G.  Hufford, 
physicist  for  Kodak  in  Hollywood, 
re-elected  secretary.  iP 


The  Cover  Story 

More  Work  for  Projectionists  as 
Reade-Sterling  Adds  20  Theatres 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment    Division 
100    E.  42nd   St.,    New   York    17,   N.Y. 


theatre  front.  These  are  "islands" 
of  shrubs  planted  on  both  sides  of 
the  theatre,  with  the  remaining  area 
paved  for  parking. 

The     outer     lobby      is      red-brick 

Fact  Sheet  on 

Walter  Reade-Sterling's 

Community  Theatre 

in    THE 

Eatontown    fN.   J  J 

Cinema  Centre 

Architect:  David  Marner, 
A. I. A..  Asbury  Park.  N.  J. 

General  Contractor:  Hend- 
rickson  Construction  Com- 
pany.   Shrewsbury.   N.   J. 

Projection  Equipment: 
Simplex  pedestals 
Ashcraft  Core-Light  lamps 
Phillips     Norelco     transistor 
sound 

All  secured  through  National 
Theatre  Supplv  Company. 
New  York  City 

Screen:  Pearl-Light  20'  x  40' 

Seats:  Griggs  Push  -  Back, 
through  Capitol  Motion  Pic- 
ture Supplv  Company.  New 
York  City 

Lens:  Bausch  and  Lomb 

Carpeting:    Karagheusian. 
through    W.    A.    Doolittle    & 
Sons,  Trenton,  N.  J. 

Curtains  and  Drapes:  From 
Paramount  Associates.  Phila- 
delphia. Pa. 

Attraction     Sign    and  .Let- 
ters: Wagner.  Plastic, 
through  Capitol 

Antique  Fixtures:  Ruby  Com- 
pany of  New  York  City 

Electrical  Work:  Red  Bank 
Electric,  Inc..  Red  Bank,  N.  J. 

Heating,  Ventilation  and  Air 
Conditioning:  Noel  R.  Nil- 
son  Company,  Little  Silver. 
N.J. 

Seating   Capacity:    900 


from  page  4 

floored,  with  a  drum-shaped  open 
counter  for  ticket  dispensing.  A 
large  Colonial  bronze  Eagle  hangs 
over  the  inner  doors. 

The  inner  lobby  which  is  domi- 
nated by  a  massive  Early-American 
chandelier  is  paved  with  a  unique 
new  Karagheusian  carpeting  of  red 
brick  design,  and  this  same  carpet- 
ing is  utilized  for  the  auditorium 
aisles.  The  inner  lobby  contains  a 
recessed  concessions  stand  on  one 
side,  and  rest  rooms  and  offices  on 
the  other.  Furnishings  and  fixtures 
are  all  of  Colonial  decor. 

The  auditorium  is  a  stadium  type, 
on  one  floor.  The  seats  are  gold  and 
white,  the  walls  blue,  and  the  cur- 
tain white.  The  extremely  high 
vaulted  ceiling,  and  the  simplicity 
of  walls,  seating  and  curtaining  give 
the  auditorium  an  unusual  air  of 
spaceousness.  The  last  several  rows 
in  the  auditorium  are  on  raised  con- 
crete steps,  and  serve  as  a  smoking 
loge. 

The  Community  is  located  adja- 
cent to  the  existing  Eatontown  Drive- 
in  Theatre,  and  the  two  theatres  to- 
gether form  the  "Eatontown  Cine- 
ma Centre".  The  entire  complex  is 
located  on  the  "Eatontown  Traffic 
Circle."  Route  35,  Eatontown,  N.  J. 
on  the  North  Jersey   Shore. 

The  theatre  raises  the  circuits 
total  to  more  than  50.  In  the  theatre 
operation  field  for  more  than  60 
years,  Walter  Reade-Sterling  is  also 
engaged  in  the  production  and  dis- 
tribution of  films  for  theatres,  tele- 
vision, educational,  and  non-commer- 
cial showing;  in  concessions,  real 
estate,  and  associated  activities.  In 
the  past  two  years  it  has  built  or 
acquired  nearly  20  theatres,  with 
more   on  the  planning  boards. 

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10 


International  Projectionist        November,  1964 


Neighborhood  Theatre  Draws 
From  50,000  in  Suburb 
of  Charlotte,  N.  C. 


CHARLOTTE,  N.  C.  —  Out  on 
Independence  Boulevard  near  the 
k-Mart.  Charles  Trexler  has  put  one 
creek  in  a  pipe  and  nudged  another 
one  over  with  a  great  mass  of  con- 
crete. 

On  this  spot  he  has  filled  in  gullies 
and  put  up  a  995-seat  motion  picture 
theatre  —  Charlottes  newest. 

This  is  to  be  the  new  Capri  Theater 
of  the  Stewart  &  Everett  chain  of 
which  Charles  B.  Trexler.  a  young- 
looking,  slim,  intense  man  of  48.  is 
president. 

First  show  in  this  big  structure  of 
grayish-yellow  brick  with  an  80-foot 
glassed-in  lobby  will  be  "Kisses  For 
My  President."  starring  Fred  Mac- 
Murray  and  Polly  Bergen,  a  comedy 
about  the  first  lady  President,  the 
first  male  "first  lady."  and  their 
inevitable  complications. 

With  two  acres  of  lighted  asphalt 
for  parking,  this  is  a  nice  spot  for  a 
theater.  Right  up  the  hill  is  the 
turnoff  toward  Albemarle.  The 
theater  is  almost  on  the  intersection 
of  Eastway  Drive  with  the  boulevard, 
where  the  much-disputed  belt  road  is 
due  to  cut  across. 

Besides  the  prestige  of  being  on 
the  boulevard,  the  theater  has  close- 
in  accessibility  to  50.000  people  who 
might  consider  this  their  neighbor- 
hood showhouse.  Trexler  says. 

Discussed  over  the  last  eight  years, 
in  the  planning  stage  for  two  years, 
the  Capri  had  its  ground-breaking  in 
May.  Ryt  Suez,  now  at  the  Manor, 
will  be  the  Capri's  managing  director. 

Trexler  likes  to  stress  that  right 
down  the  line  this  is  an  all-Carolinas 
production.  Architect  is  Charlottean 
Charles  H.  Wheatley.  Laxton  Con- 
struction  Co.   is  doing  the  work. 

I  A  native  of  Anson  county.  Trexler 
came  to  Charlotte  in  1937.  fresh  out 
of  the  University  of  North  Carolina 
with  a  B.S.  degree.  In  1942  he  mar- 
ried the  former  Miss  Isabel  White  of 
Greenwood.  S.C.  Members  of  Cov- 
enant Presbyterian  Church,  they  have 
(five  children  and  live  at  2101  Buck- 
nell  Ave. 
Sixty-nine  Stewart  &  Everett  thea- 
ters stretch  from  Vireinia  to  the 
Georgia  line.  Tn  the  Carolinas  they 
extend  from  Mount  Airy  to  More- 
head  Citv  to  Aiken,  products  of  a 
corporate  enterprise  first  organized 
in  Charlotte  in   1037. 

There  are  three  entrances  from  the 


boulevard  to  the  new  Capri  Theater 
parking  areas.  Automobiles  that 
circle  behind  the  theater  will  be  driv- 
ing over  one  of  Trexler's  rerouted 
creeks. 

A  100-foot  steel  canopy  roofs  the 
lobby.  Supporting  pillars  thrust  steel 
fingers  up  in  an  inverted-umbrella 
effect  that  will  give  a  feeling  of  light- 
ness to  the  lobbv  when  it  is  covered 
with  concrete.  Lighting  will  emphas- 
ize  each    angular   effect. 

Twenty-Foot  Marquee 

Two  marquee  signs  above  the 
canopy  are  seven  feet  high  and  20 
feet    long. 

Circling  the  back  of  the  auditor- 
ium is  a  walled-in  "standee."  where 
folks  can  circulate  and  congregate 
without  disturbing  the  audience. 

The  auditorium  is  104  feet  wide  at 
the  rear.  It  is  115  feet  long  and  71 
feet  wide  at  the  front  end  supporting 
the  50-foot   (or  wider)    screen. 

Five  sound  speakers  will  be  on  the 
stage  and  10  more  are  recessed  in  the 
walls  around  the  auditorium  for 
stereophonic   films. 

The  Capri  is  set  up  for  four-track 
magnetic  sound,  six-track  magnetic 
sound,  and  optical  sound.  35  and 
70mm. 

The  screen  will  rise  above  a  con- 
ventional stage  with  a  performance 
area  eight  feet  deep,  from  which  a 
speaker  or  a  small  group  of  singers 
could  hold   forth. 

Thrown  in  for  theatrical  mood  will 
be  an  Austrian  curtain  that  moves  up 
and  down.  There  will  also  be  con- 
ventional screen  curtains  that  open 
to   each   side. 

The  Capri  auditorium  will  have 
five  aisles,  including  aisles  along 
each  side  wall.  A  smoking  area  of  98 
seats  will  be  in  the  center  rear,  with 
an  air  duct  above  drawing  cigarette 
smoke  away  from  the   audience. 

The  new  Stewart  &  Everett  theater 
will  be  going  into  competition  with 
the  900-seat  Park  Terrace  theater  of 
the  Wilby-Kincey  chain,  which  open- 
ed last  Mav  at  the  Park  Road  shop- 
ping center,  and  with  Cinema  I  and 
II,  which  have  1,500  seats  between 
them,  open  since  last  November  at 
Charlottetown   Mall.  iP 


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Projectionists 

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International  Projectionist        November.  1964 


11 


I 


H.  H.  Waggershauser, 
Kodak  VP,  Named 
To  Director  Post 

Herman  H.  Waggershauser.  ar 
Eastman  Kodak  vice-president  and 
general  manager  of  the  Apparatus 
&  Optical  Division,  has  been  elected 
a  director  of  the  company. 

Waggershauser  was  elected  at  a 
meeting  of  the  board  of  directors 
held  today  in  Rochester,  N.  Y.  He 
succeeds  James  E.  McGhee,  who  i^ 
retiring  from  the  board. 

The  new  director  came  to  the  com- 
pany in  1933.  For  several  years  he 
was  concerned  with  production  and 
development  work  at  the  Camera 
Works  in  Rochester  and  later  at 
Kodak  A.  G.  in  Stuttgart.  Germany. 

He  returned  to  the  Camera  Works 
in  1938  and  from  1942  -  43  served 
as  a  process  engineer  in  connection 
with  military  optical  instruments 
produced  by  Kodak  at  the  Hawk-Eye 
Works. 

He  was  appointed  staff  engineer 
at  the  Camera  Works  in  1943,  assis- 
tant to  the  general  superintendent  of 
manufacturing  in  1945.  and  superin- 
tendent of  production  engineering 
and  tooling  in  1948.  In  1952  he- be- 
came general  superintendent  of  man- 
ufacturing at  the  Camera  Works. 

When  the  Apparatus  &  Optical 
Division  was  formed  in  1956.  Wag- 
gershauser was  named  production 
manager.  The  Division  includes  three 
plants  in  Rochester  —  the  Camera 
Works,  the  Hawk-Eye  Works,  and 
the  Lincoln  Plant. 

Waggershauser  became  assistant 
general  manager  of  the  A&O  Divi- 
sion in  1958.  In  1960  he  was  elected 
a  vice-president  of  Eastman  Kodak 
Company  and  appointed  general 
manager  of  the  A&O  Division.  He 
is  president  of  the  board  of  gover- 
nors of  Genesee  Hospital,  a  director 
of  the  Rochester  Y  Athletic  Club,  a 
director  of  Eastman  Savings  and 
Loan  Association,  and  a  member  of 
the  executive  committee  of  the  Ko- 
dak Employees  Asociation. 

He  is  also  a  member  of  the  Amer- 
ican Ordnance  Association,  the  Pho- 
tographic Society  of  America,  and 
the  Rochester  Chamber  of  Com 
merce.  Waggershauser  received  B.  S. 
and  M.  S.  degrees  in  mechanical  en- 
gineering from  the  University  of 
Wisconsin.  iP 

McGhee  retired  as  vice-president 
in  charge  of  U.  S.  sales  and  adver- 
tising in  January  1,  1963.  He  had 
completed  42  years  of  Kodak  service. 

He  came  to  the  company  in  1920 
and   for   the   next   six   years   served 

12 


with  Kodak's  medical  sales  division. 
He  was  transferred  to  the  company's 
Chicago  branch  in  1927  and  returned 
to  the  sales  department  in  Rochester 
four  years  later. 

McGhee  was  appointed  assistant 
general  sales  manager  in  1935  and 
general  sales  manager  of  the  com- 
pany in  1937.  He  became  an  assis 
tant  vice-president  in  1943  and  two 
years  later  was  elected  a  vice-presi- 
dent. In  1954  he  was  placed  in  charge 
of  U.  S.  sales  and  advertising. 

He  was  elected  a  director  of  East- 
man Kodak  Company  in  1956  and 
in  1960  became  a  member  of  the 
r>ompany's  executive  committee,     iP 

Todd-AO  Announces 
New  Licensing  System 

A  new  licensing  system  for  the  use 
of  TODD-AO,  making  it  competitive 
with  other  70mm  processes,  has  been 
announced  by  Salah  M.  Hassanein. 
President  of  The  Todd-AO  Corpora 
tion. 

The  institution  of  the  policy  per 
mitting  the  use  of  the  Todd-AO  sys- 
tem on  a  flat-fee  basis  marks  the 
beginning  of  a  new  era  for  Todd-AO 
Todd-AO's  perfection  of  quality  and 
unlimited  possibilities  for  realism 
and  participation  have  been  clearh 
established,  demonstrated  and  uni- 
versally accepted  through  many  great 
motion  pictures,  including  Rodgers 
&  Hammerstein's  Oklahoma!  and 
South  Pacific.  Mike  Todd's  Around 
The  World  in  80  Days,  and  20th 
Century  Fox's  Cleopatra  araons 
others. 

In  all  of  these  films  the  process 
was  licensed  on  a  royalty  basis.  The 
process  will  now  be  available  to  those 
producers  who  have  long  desired 
Todd-AO  quality  at  a  competitive 
cost. 

Twentieth  Century-Fox  Film  Cor- 
poration is  the  first  to  take  advan- 
tage of  the  new  arrangement.  Sey- 
mour Poe,  Twentieth's  Executive 
Vice  President,  has  just  signed  a  5- 
picture  deal  with  Todd-AO  which 
will  include  a  multi-million  dollar 
i'rray  of  motion  pictures:  The  Sound 
of  Music,  The  Agony  &  The  Ecstacy, 
The  Day  Custer  Fell ,  Magnificent 
Men  &  Their  Flying  Machines  and 
Justine.  iP 


New  Mike  For 
Motion  Pictures,  TV 

Shure    Brothers,     Inc.,    Evanston, 
111.,  has   announced   a  new  unidirec- 
tional   boom    microphone    especially         ing. 
developed    to     uniquely    satisfy     the 

International  Projectionist 


critical   requirements   of  motion   pic- 
ture and  television  boom  operation. 

The  new  microphone  is  available 
as  the  Model  SM5A  with  an  impe- 
dance of  50  ohms  and  the  SM5B  with 
an  impedance  of  150  ohms.  It  was 
especially  developed  by  the  Shure 
Professional  Products  Division  to 
provide  a  new  degree  of  reproduc- 
tion quality  and  flexibility  of  appli- 
cation in  television  and  motion 
picture  studio  and  location  work. 

Desk  mounts  are  available  as  ac- 
cessories for  both  SM5  models.  This 
feature,  plus  the  unit's  unusual 
mechanical  construction  and  perfor- 
mance characteristics,  makes  possible 
the  SM5's  use  in  many  applications, 
such  as  coverage  of  outdoor  sports 
and  other  difficult  remote  pickups, 
where  boom  operation  is  not  practi- 
cal. 

Demonstation  of 
Dimension-150 

Approximately  100  of  Hollywood's 
top  motion  picture  cameramen,  mem- 
bers of  The  American  Society  of 
Cinematographers.  participated  in  a 
full  scale  demonstration  of  the  Dim- 
ension-150 filming  and  projection 
process  at  the  D-150  theatre-labora- 
tory in  Santa  Monica. 

The  D-150  presentation  at  the 
company's  Rosemary  theatre-lab  was 
arranged  by  Marshall  Naify.  presi- 
dent of  D-150  Inc.,  and  Roy  Evans, 
sales  manager,  exclusively  for  A.S.C. 
members  throuih  that  organization's 
president,  Hal  Mohr,  and  Walter 
Beyer,  chairman  of  the  Society's  edu- 
cational and  scientific  committee. 

Dr.  Richard  Vetter.  executive  vice 
president  and  co-developer  of  the 
Dimension-159  process,  welcomed 
the  group  and  briefly  reviewed  the 
background  of  the  development  and 
various  technical  aspects  of  the  pro- 
cess. Also  prior  to  the  showing  of 
the  demonstration  film  Carl  Wil- 
liams, co-developer  and  vice  presi- 
dent of  D-150.  spoke  of  his  recently 
completed  survey  of  theatres  in  more 
than  27  key  cities  in  the  U.S.  Mr. 
Williams  reported  on  his  visit  to  the 
Dino  De  Laurentiis  production  loca- 
tions shooting  "The  Bible"  currently 
being  filmed  in  D-150  in  Rome  under 
the  direction  of  John  Huston. 

The  cinematographers  expressed 
great  interest  and  spoke  enthusiasti- 
cally about  the  demonstration.  Many 
of  those  present  participated  in  an 
intensive  question  and  answer  session 
following   the    demonstration    screen- 


iP 

November,  1964 


basic 
mathematics 

by  m— HM  H    CROWHUItT 


VOLUMES 
1  through  4 
COMPLETE 


PRACTICAL 
METHOD 


J\ 


LEARMWC 


BASIC   MATHEMATICS 

by  Norman  H.  Crowhurat 

4-volume  'pictured-text'  course  makes  it  easier  than 
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related subjects.  Algebra,  geometry,  trigonometry, 
calculus  are  interwoven  at  progressively  rising  levels 
in  the  different  volumes.  Each  voume  reinforces  your 
understanding  as  you  penetrate  more  deeply  into 
the  subjects.  Selected  illustrations  create  clear 
images  of  mathematical  ideas  formerly  difficult  to 
understand. 

A  KNOWLEDGE  OF  MATH  SPEEDS  YOUR  PROGRESS  IN 
ELECTRONICS  —  No  matter  what  your  plans  are  in 
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more  math  you  know,  the  easier  it  is  to  iearn 
electronics.  And,  if  you've  set  your  sights  on  being 
an  advanced  technician  or  an  engineer,  this  course 
will  speed  you  towards  your  goal. 
Volume  I  —  ARITHMETIC  AS  AN  OUTGROWTH  OF 
LEARNING  TO  COUNT  —  You  gain  the  self-confidence 
you  need  to  master  mathematics!  You  build  a  so>id 
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Volume  III  —  DEVELOPING  ALGEBRA,  GEOMETRY, 
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Vols.   in  one  clothbound  edition,  $15.95. 

Name     

Address     

City  Zone State 

i 


America's 

headquarters 

lor  all 

theatre  equipment 


supplies 


•Al.TTS- 


National 

THEATRE  SUPPLY  COMPANY 


OUT  OF  PRINT 

MITCHELL  MANUAL 

AVAILABLE! 

The  renowned  "Manual  for 
Practical  Projection"  by  Robert  A. 
Mitchell  is  now  out  of  print,  ac- 
cording to  an  announcement  by  the 
bookseller,  International  Projec- 
tionist. 

Returns  from  our  retail  outlets 
have  been  consolidated  and  we 
now  have  approximately  40  vol- 
umes of  the  Mitchell  Manual  avail- 
able on  a  first-come-first  served 
basis. 

These  books  are  in  brand  new 
condition,  complete  with  dust 
jackets;  have  never  been  used. 
This  rare  publication  can  be  yours 
for  $10  cash  or  money  order. 
Sorry,  no  C.O.D.  or  foreign  orders 
can  be  accepted  at  this  price. 

Sheehan    Booksellers 

Box   410,    Route   5 
Wayzata,    Minnesota    55391 


World-Wide   Business 
For  Walters  Service 

DALLAS  —  From  local  projector 
repair  work  to  a  world-wide  business 
has  become  the  story  of  Lou  Vi  alters 
Sales  &  Service  Co.  of  Dallas.  Texas. 
Service  and  good  quality  did  it. 
backed  up  bv  advertising  in  such 
publications  as  IP.    As  Walters  says: 

"In  1948  when  I  started  in  the 
projector  repair  business  here  in 
Dallas  I  was  doing  the  repair  work 
only  for  the  local  branch  of  National 
Theatre  Supply  Co.  I  found  that  this 
work  was  spasmodic,  and  had  lots  of 
time  on  mv  hands,  so  I  started  adver- 
tising that  my  time  and  shop  were 
available.  My  operation  became  na- 
tional. 

"This  was  the  situation  until  I 
started  the  manufacture  of  the  "Little 
Miser""  carbon  saver,  and  then  the 
orders  came  not  only  from  our  states 
but  from  all  over  the  free  woxld. 
Along  with  the  carbon  saver  busi- 
ness, orders  for  hard-to-get  parts 
were  sent  along  and  even  today  many 
supplv  dealers  check  with  our  shop 
for  parts  that  have  been  discontinued. 
1  am  pleased  to  say  we  have  helped 
many  of  them  find  parts  that  are  no 
longer  available  from  the  factories. 
This  business  continues  even  today, 
although  we  no  longer  manufacture 
the  "Little  Miser"  saver,  having  sold 
the  rights  to  Theatre  Products  of 
Lancaster.  Tex.,  but  we  still  retail  it 
to  the  theatres. 

"Our  business  has  been  typed  as 
The  Repair  Shop  in  the  U.S.  and 
we  are  very  happy  for  it.  At  present 
we  are  supplving  repair  and  rebuild- 
ing service  to  many  supply  dealers 
who  find,  because  of  the  uneven  flow 
of  repair  work,  it  is  no  longer  econ- 
omical to  operate  their  own  shop. 

"Since  the  high-speed  motor 
freight  lines  bring  shipments  to  our 
door  in  two  or  three  days,  these 
dealers  can  continue  to  give  good 
repair  service,  using  our  shop.  A 
number  of  export  firms  are  making 
use  of  our  complete  rebuilding   ser- 


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vice,  and  our  work  is  being  sent  all 
over  the  world. 

"After  regrinding,  at  a  nominal 
cost,  thousands  of  wide-tooth  sproc- 
kets to  narrow  tooth  to  allow  the 
running  of  narrow-hole  Fox  prints, 
we  are  still  getting  sprockets  for 
regrinding."  LP 

Audio-Visual 
Expenditures  Up 

Expenditures  in  the  non-theatrical 
motion-picture  and  audio-visual  field 
increased  3.6  per  cent  in  1963  over 
the  preceding  year,  reaching  an  es- 
timated S638  million. 

This  continuation  in  the  steady 
growth  of  the  field  since  World  ^  ar 
II  is  noted  in  a  report  prepared  for 
the  August  issue  of  the  SMPTE 
Journal. 

The  1963  figure  includes  estimated 
administrative  costs  not  included  in 
previous  reports,  which  have  been 
published  by  SMPTE  since  1959 
The  revised  total  for  1962  is  $616 
million. 

Prepared  for  SMPTE  by  Thomas 
W.  Hope  of  Eastman  Kodak  Co.. 
this  latest  interim  report  notes  that 
for  the  second  consecutive  year,  A-\ 
expenditures  by  federal,  state  and 
local  government  showed  the  biggest 
percentage  gain.  The  expenditures 
totaled  approximately  §84  million 
up  5  per  cent  from  the  revised  1962 
figure. 

Other  gains  were  noted  among 
A-V  users  in  business  and  industry 
I  up  4.5  percent,  to  $280  million  i. 
and  in  education  I  up  3.7  percent. 
to  $228  million). 

Audio-visual  expenditures  by  re- 
ligious groups  and  by  civic,  recrea- 
tional and  social  welfare  dropped  5 
per  cent,  to  an  estimated  S19  million 
each.  Relatively  unchanged  at  $8 
million  were  expenditures  in  the  area 
of  medicine  and  health. 

Several  trends  were  observed  in 
the  SMPTE  report.  The  trading-in 
of  used  16mm  projectors  for  new  ma 
chines  was  found  to  have  dropped  off 
by  over  50  percent.  The  number  of 
high-budget  business  films  fell  off 
considerably,  but  the  number  of  spe- 
cial-purpose films  shot  at  lower  costs 
increased.  Unit  sales  of  overhead  pro- 
jectors rose,  while  the  dollar  volume 
fell  off. 

Interestingly,  the  number  of  new 
nontheatrical  motion  pictures  in- 
creased 5  per  cent  to  an  estimated 
9,680  last  year,  but  the  cost  of  pro 
duction  was  up  less  than  1  percent, 
to  $135  million.  Commercial  televi- 
sion film  production,  although  not 
included  in  the  figures  for  the  report, 
also  was  reported  to  be  up. 

International  Projectionist        November,  196i 


Investment  Opportunity 


The  tools  this  young  apprentice  is  learning  to  make  will 
one  day  be  used  to  turn  out  your  company's  products. 

A  great  investment  in  time,  money,  effort  and  faith 
will  have  to  go  into  making  him  productive.  Every  one 
of  us  has  a  stake  in  his  success — and  every  one  of  us 
must  invest  something — for  on  the  developing  skills  of 
America's  young  tool-makers  depends  the  continued 
functioning  of  all  industries. 

You  can  protect  your  investment  by  joining  with  other 
leading  American  businessmen  to  promote  the  Treas- 
ury's Payroll  Savings  Plan  for  U.S.  Savings  Bonds.  The 
Treasury  Department's  Plan  helps  safeguard  the  individ- 

4S& 


ual  liberties,  and  encourages  the  industrious  and  respon- 
sible attitudes  so  necessary  for  the  growth  of  our  econ- 
omy and  the  well-being  of  our  society. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll — 
you  are  investing  in  the  next  generation  of  America's 
skilled  craftsmen  and  technicians.  You  are  investing  in 
our  future.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  to  the 
Treasury  Department,  United  States  Savings  Bonds 
Division,  Washington,  D.C.,  20226. 


in  your  plant... promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS     [s 

The  U.  S.  Government  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism.  The  Advertising  Council  and  this  magazine. 


As  a  young  fellow  of 
19  I  remember  that 
Dad  operated  a  1926 
Strong  Standard  low 
intensity  arc  lamp. 


When  I  started  oper- 
ating in  1928  I  had 
the  Strong  Hy-Lo. 


Five  years  later*,  in 
1933, 1  ordered  Strong 
Moguls. 


When  in  1949  the 
Strong  Mighty  90  was 
announced  I  bought  a 
pair  of  the  first  ones 
available. 


I  believe  that  if  any- 
one wants  to  make 
money  in  show  busi- 
ness he  must  keep  up 
with  the  times,  so  last 
month  I  installed  new 
Strong  Futuras.  I 
know  that  it  pays,  be- 
cause my  bov  office 
reports  prove  it. 


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INTERNATIO 


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#n 


T~= 


MAR  1  0 1965 

UCopy... 


10 


'  s- 


The  Columbia  Pictures  Studios  pro- 
jection room  in  Los  Angeles,  Calif.,  has 
been  equipped  with  new  Xenon  projec- 
tion arc  lamps  by  the  Strong  Electric 
Co.,  Toledo.  That's  J.  W.  Scales,  pro- 
jection supervisor,  looking  happy  with 
his  National  Theatre  Supply  installa- 
tion. 


'? 


ssejSuoo  jo  Arsaqri 


DECEMBER 
VOLMUE  39 
40c  A  COPY 


1964 

NUMBER  12 

$3.00  A  YEAR 


ydi  it  s  no  box  office  secret 

111(11  IIIUl  t*  ybUCI  pUi  bliM^Cl  w  liCG|J 

coming  back  when  you  sell  this  triple 
feature"performance  package" . 
1.  A  good  moviel  2.The  finest  screen 
lighting!  3.  A  comfortable  theatre! 


Play  it  safe— light  up  with  "National"  projector  car- 
bons. Guarantee  your  patrons  a  brighter,  clearer  pic- 
ture. 

If  you  want  proof  of  the  importance  of  a  well- 
lighted  screen  presentation  — just  try  dimming  the 
screen  light  for  a  few  minutes! 

The  spontaneous  and  noisy  reaction  of  your  audi- 
ence will  quickly  tell  you  how  movie  patrons  feel  when 
screen  lighting  isn't  up  to  par. 

You'll  save  money,  too,  because  "National"  car- 
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270  Park  Avenue  •  New  York,  N.  Y.  10017 
In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL 

PROJ  ECTIONIST 


Volume   39         Dec.    1964         No.    12 


FRANK   W.   COOLEY,    JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO  ASSOCIATES 

National    Advertising    Representatives 

545    Fifth   Avenue.    New    York,    N.  Y.,    10017 

Telephone   Murrayhill    7-7746 

(Area   Code   212) 


IN  THIS  ISSUE 

Walter  Beyer  and  70  mm  4 

New  Camera  System  1  1 

70  mm   Houses  Tested  1  2 

Films  for  Motion   Pictures  1  3 

News    Notes  —  Technical    Hints  —  Miscellaneous    Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
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PUBLISHING  CO. 


International  Projectionist         December,  1964 


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INTERNATIONAL   PROJECTIONIST 


Volume  39 


December   1964 


Number   12 


Parti 


Drive-in  Operations  with 
70  mm  Equipment 


It  is  necessary  for  any  engineer 
or  technician,  regardless  in  which 
professional  field  he  happens  to  work, 
to  occasionally  put  his  books  and 
tools  aside  and  take  a  good  look  at 
statistical  facts  about  the  overall 
business  he  is  in.  In  the  motion  pic- 
ture industry  this  type  of  thing 
seems  to  be  even  more  important 
since,  contrary  to  any  other  product, 
we  are  sellling  entertainment  on  cel- 
luloid which  seems  to  be  a  piece  of 
merchandise  having  very  uncertain 
and  unpredictable  acceptance  and 
market  value. 

When  therefore,  a  few  months  ago, 
I  was  approached  with  the  question 
of  stating  the  total  number  of  70MM 
theatrical  projection  installations 
world  wide,  I  found  as  many  differ- 
ent answers  as  there  are  figures  pub- 
lished in  different  magazines  through- 
out the  industry.  I  therefore  started 
from  scratch  and  undertook,  with 
the  kind  cooperation  of  70MM  pro- 
jector manufacturers  throughout  the 
world,  a  reliable  survey  of  all  pres- 
ently existing  theaters  having  70MM 
projection  facilities. 

For  obvious  reasons  of  course,  I 
shall  refrain  from  listing  these  in- 
stallations  by    manufacturer    names 


but  merely  list  the  total  number  of 
installations.  It  would  exceed  the 
scope  of  this  presentation  to  publish 
every  theater  by  name,  city,  state  and 
country  but  merely  summarize  all  in- 
stallations supplied  with  projectors 
from  American,  European  and  other 
manufacturers. 

There  are  now  1,100  theaters 
throughout  the  world  equipped  to 
show  70MM  films.  According  to 
data  compiled  chiefly  from  projector 
manufacturers  throughout  the  world, 
the  United  States  and  Canada  lead 
the  list  of  70MM  theaters  with  a  com- 
bined total  of  about  350  installations. 
Italy  is  next  with  175,  France  comes 
third  with  119,  Japan  fourth  with 
78,  England  has  54,  Germany  44, 
Africa  30  and  remainder  of  installa- 
tions are  distributed  among  46  other 
countries. 

Table  1  lists  the  70MM  facilities 
in  detail.  Even  though  they  add  up 
to  only  993  it  should  be  understood 
that  I  have  listings  of  150  more  the- 
aters having  installations  with  modi- 
fied 35/70MM  projectors  such  as  XL, 
Friesecke  -f-  Heopfner  Zeiss  Ikon 
and  others.  My  statistics  do  not  in- 
clude as  yet  installations  for  single 
film  70MM  Cinerama  showings. 

A  preliminary  follow  up  of  my  sur- 


By  Walter  Beyer 
Universal  Pictures 


vey  shows  a  speeding  up  of  70MM 
installations  so  that  the  total  num- 
ber at  present  will  be  considerably 
higher  than  the  above  figures. 

Hardly  any  new  theater  installa- 
tion is  being  completed  now  without 
serious  consideration  given  to  35/ 
70MM  projectors.  I  may  furthermore 
remark  right  here  that  having  estab- 
lished reliable  information  sources, 
I  shall  repeat  and  extend  my  survey 
at  the  end  of  this  year  and  bring  all 
my  figures  correspondingly  up  to 
date. 

So  much  for  the  statistics  on  the 
70MM  situation.  Let  me  now  present 
my  views  on  "Drive-In  operations 
with  70MM  projectors  and  prints". 

During  the  last  eight  years  at  least, 
a  substantial  amount  of  new  wide- 
screen  processes  of  all  kinds  have 
been  introduced  to  the  industry  and 
found  practical  application.  Although 
all  of  these  innovations  have  been 
widely  ballyhooed,  it  seems  strange 
that  one  of  the  most  important  tech- 
nical presentations  has  not  yet  found 
the  attention  it  deserves,  namely,  the 
use  of  35/70MM  projectors  and 
70MM  prints  in  Drive-In  theaters. 

Two  basic  viewpoints  have  to  be 
taken    to    recognize    the    importance 

International  Projectionist         December.  1964 


IP  DELAYED 

Thi-  i.sue  ;nd  a  previous  issue  of 
Internationa]  Projectionist  was  delayed 
bv  difficulties  in  the  printing  plant 
which  produces  IP.  Compositors  and 
pressmen,  members  of  several  unions 
including  the  International  Typograph- 
ical Union,  were  on  strike  for  over 
a  month.  The  discussion  between  the 
company  and  the  several  unions  took 
place  while  IP  was  being  produced; 
naturally  production  had  to  be  stop- 
ped until  a  solution  was  reached  and 
the   picket   lines   withdrawn.  il' 

por  the  release  of  7* > M \ I  prints  in 
Drive- In  theaters: 

I  he)  are,  first  -the  drastic 
change  in  the  overall  statistics 
"I  show-places  in  the  I  nited 
States;  and  sec I  the  techni- 
cal and  engineei  ing  considera- 
tions thai  determine  the  limita- 
tions ol  overall  picture  presenta- 
tion   in    Drive-In    theati  i  s. 

\-  I. ii   as  statistics  are  concerned, 

.  ii   - 1 1  < .  11 1 « 1   be  ihiIimI   thai   eighl    years 

figo    the    total    number    of    Drive-in 

theaters     was    approximate!)     1.726 

with      roughl)       18,200      Hard-Top 

bouses.   I  he  1961   statistics,  howei  ei . 

-how    ,i    total   of    1,768    Drive-In-    and 

1 1,335  Hard-Top  theaters.  I  hese 
figures  -|H-.ik  for  themselves  and 
even  to  an  impartial  observer,  i n<  1  i- 
catr  a  drastic  change  in  the  total 
revenue  situation    .   .   .    undoubtedly 

ill    lav  Or    of    llie    I  >l  ive    In. 

I. ""kin-  at  the  technical  and  engi- 
neering considerations  <>f  the  Drive- 
on  theater,  it  should  he  noted  that 
main  engineering  conventions,  re- 
■earch  projects,  and  theater  liaison 
programs  have,  without  success,  been 
devoted  to  the  fact  that  the  picture 
in  the  Drive-In  theater  i-  substantial- 
K  hampered  in  screen  brightness  due 
to  physical  limitations  inherent  in 
the  film  itself  and  due  to  the  entire 
concept  of  equipment,  performance, 
and  capability . 

In  regard  to  screen  brightness  in 
Drive-ins.    for    instance,    it    is   known 


from  the  Motion  Picture  Research 
Council's  theater  liaison  program, 
that  the  nationwide  average  is  only 
3  foot-lamberts  for  a  wide-screen 
and  not  more  than  5  foot-lamberts 
for  a  Cinemascope  picture. 

While  the  above  figures  are  based 
on  a  nationwide  average,  relating  to 
all  Drive-Ins,  it  should,  natural!)  he 
noted  that  successful  efforts  have 
been  made  to  achieve  higher  screen 
brightnesses.  However,  the  overall 
level  Mill  remains  substantial!)  be- 
low the  point  of  what  one  would  call 
a  brilliant  picture  with  good  *torv- 
telling  impact  in  man)  cases. 

\\  tthoul  going  into  technical  de- 
tail-, it  should  l>c  recognized  that 
there    are     present!)      limitations      in 

I sting     these    screen    brightnesses 

that   are   mainlv    determined    b)    the 

film    itself    that    can    -land    no    more 

heal  without  suffering  permanent 
damage. 

I    consider   it    therefore,     a     most 

natural  Btep  to  think  of  the  utilization 

of  70MM  projection  in  Drive-Ins 
whenever  possible,  because  thi-  re- 
lease -v  stem  piov  ides  us  w  ith  an 
apei  tine  size  that  w  ill  permit  all  the 
light  and  illuminating  power  of  the 
arc  to  pass  through  it  ami  achieve 
a  picture  of  startling  brightness  —so 

Urgentl)     needed     for    outdoor    -how-. 

I  he  above  statements  an'  not  mere- 
Iv  wishful  thinking,  hut  are  the  re- 
sult of  extensive  tests  that  I  made 
in  actual  Diivc-ln  theaters  having 
different  tv  pes  of  equipment.  Ii  ma) 

In-   worthwhile  to  disclo-e   the    results 

of  two  experiments  with  70MM  film 
ami  equipment  a-  example  we  made 
at  the  Midwav  Drive  In  theater,  in 
San  Diego,  and  the  other  at  the  North 
Star    Drive-In    theater,    in    Denver. 

The  Midway  Drive-In  theater  in 
San  Diego  is  owned  and  operated 
bv  Kenneth  Gallion,  who  had 
throughout  the  vears  always  main- 
tained a  close  contact  with  the  staff 
of  the  Motion  Picture  Research  Coun- 
cil i  now  disbanded  since  March 
19601.  He  therefore  has  the  first  all- 
aluminum   outdoor   screen   developed 


Africa  (inc.  Mor.,  Kenya, 

So.    Africa,    etc.)  30 

Australia  10 

Austria  11 

Argentine  Rep.  10 

Belgium  8 

Brazil  4 

Burmo  1 

Chile  3 

Columbia  2 

Cuba  1 

Cyprus  3 

Czechoslovakia  ...      1 

Denmark  14 

England  53 

Finland  2 

Formosa  2 


France  117 

Germany  43 

Greece  1 

Holland  24 

Hong     Kong     5 

Iceland                        2 

India  1 

Iran                                     1 

Iroq  1 

Ireland  5 

Israel      5 

Italy  173 

Jamaica     2 

Japan     76 

Jordan      1 

Korea      5 

Lebanon     3 


United     States     and     Canada 

U.S.S.R.    ffrom    Western    manufacturers 


Luxembourg 

Malaya 

Malta 

Mexico 

New     Zealand 

Norway      

Pakistan 

Philippines 

Portugal 

Rumania 

Spain 

Sweden    

Switzerland 

Svria 

Thailand 

Venezuela 

Vietnam 

Uruguay 


only) 


202 
5 


1 
7 
2 
5 
5 
7 
2 
4 
5 
2 
13 
19 
22 
3 
5 
2 
1 
1 


Get  all  the  facts!  Ask  your  equip- 
ment dealer  for  the  new  1964 
Kollmorgen  Projection  Lens  Cata- 
log or  write  us  direct. 

k     KOLLMORGEN 

CORPORATION 

NORTHAMPTON.   MASSACHUSETTS 


International  Projectionist         December,  1964 


I^^^MMHSHjj 


BI-POWR  RECTIFIER 

SAVES  EVEN  MORE 

.    THAN  PROMISED 


"Your  local  dealer  . . . 

pointed  out  that  we  would  save  about 

$35  per  month  on  our  electric  bill.         J|j 

Actually  we  save  close  to  $42  per        ■ 

month  since  we  have  changed  over 

from  our  generator.  It  is  good  to 

know  that  we  can  depend  upon  you 

and  your  dealer  organization." 

— D.  M.  Pearce 
Ascarate  Drive-In  Theatre, 

£1  Paso,  Texas 

DESIGNED 

J  FOR  THE  OPERATION 

OF  2  ARC  LAMPS 

This  new  type  silicon  diode  stack 
■  I  transformer-rectifier,  is  the  most 
economical  means  of  power  conver- 
sion ever  manufactured. 
No  flicker  or  other  change  in  pro- 
jected light  when  striking  the  second 


- 


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"Lo-Slrike*" 
feature  associated 
with  each  output 
protects  the  silicon 
stacks  from  over- 
load, and  prevents 
destruction  of  car- 
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striking  the  arc. 


SAVES 
ON  INITIAL  COST! 

Sells  for  15%  less  than  two  of  the  lowest 
priced  90-135  ampere  rectifiers,  and  costs 

tless  to  install.  Requires  only  one  line  service. 
SAVES  ON  SPACE 
Requires  one-third  to  one-half  less  floor 
space  than  two  separate  rectifiers  spaced 
for  proper  ventilation. 


DUAL  OUTPUT  RATING  OF 
60-85/  60-85  AMPS/  35-45  V     I 

75-105/  75-105  AMPS/        48-61    V    f 
90-135/  90-135  AMPS/         56-70  V 
120-160/   120-160  AMPS/   58-75  V 
SEND  FOR  LITERATURE 

The  ^%fr0f£  Electric  Corp. 

3  I  City  Park  Ave.,  Toledo  1,  Ohio 

*Nor   supplied   as   regular   equipment   on    60-85 
ampere  and  75-105  ampere  models. 


Fig.  1 :  The 
Manco-Vision  all- 
aluminum  screen 
as  shown  in  use 
at  the  Midway 
Drive-In  in  San 
Diego,    Calif. 


Fig.  4:  The 
lamp  house  is 
pulled  back  to 
show  the  mount- 
ing of  the  shallow 
heat  filter,  a 
liquid  heat-absor- 
bing   installation. 


Fig.  6:  The 
inside  of  the 
booth  at  the 
North  Star 
Drive-In,  Den- 
ver, Colo.,  show- 
ing a  pair  of 
Norelco  and  Jet- 
arcs  ready  for 
70  mm  opera- 
tion. 


International  Projectionist        December.  1964 


Fig.  >:  The  modified  35/70  mm 
\L  projector  and  I  entarc  lamps  ititli 
the  liquid  heat  filter,  all  threaded  and 
ready  for  a  7')  mm.  Projection  at  the 
Midway  Drive-In  in  San  Diego. 

In  the  Research  Council,  built  .mil 
installed  b\    Manco- Vision. 

Figure  1  shows  a  daytime  picture 
ol  the  Midwaj  Drive-in  and  Manco- 
Vision  screen  for  a  picture  <>f  102  ft. 
bj  II  ft.  Even  though  (hi>  \\a>  one 
of  the  first  screen  installations  of 
this  kind,  it  is  in  excellent  condi- 
tion and  has  retained  a  gain  of  2.5 
plus.  The  70.MM  picture  of  102  l>\ 
1 1  ft.  had  a  center  brightness  of 
lit  foot-Lamberts. 

As  shown  on  Figure  2.  be  operates 
with  modified  KL-projectors  and 
Strong  Ventarc  lamps.  These  lamps 
are  equipped  with  21  in.  silver  mir- 
rors and  for  the  projection  of  both 
his  35MM  and  70MM  prints  he  uses 
the  D  -j-  F  liquid  heat  reducing  fil- 
ters with  dichroic  coatings,  also  a 
Research  Council  development,  and 
shown  directly  mounted  on  the  lamp- 
bouse  on  (he  side-view  of  Figure  3. 


Needless  to  say  that  this  liquid 
filter  is  recommended  for  all  high 
power  installations,  since  its  heat 
absorption  is  the  most  effective 
known  so  far  and  will  not  only  pro- 
tect the  35  and  70MM  prints  but 
eliminate  focus  drift  as  well.  An- 
other view  of  such  filter  installation 
is  shown  on  Figure  4.  and  the  liquid 
heat  filter  itself  is  seen  on  Figure  5. 

I  For  the  more  interested  reader  1 
would  like  to  refer  to  my  article 
"Research   Council    Development    for 


Better  Theater  Projection,"  by  Wal- 
ter Beyer,  in  the  Journal  of  SMPTE. 
November  1960  pages  792  through 
794.) 

In  the  North  Star  Drive-In  the- 
ater in  Denver,  Colo.,  which  belongs 
to  the  Wolfberg  Theaters,  Inc.  we 
projected  with  70MM  a  picture  of 
135  ft.  by  60  ft.,  having  a  center 
brightness  of  12-foot-Lamberts. 

This  Drive-in  operates  with  Philips 
Norelco   projectors   using   again   the 


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For  want  of  an  extra  mirror, 
business  can  be  lost  by  shut- 
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Fig.  5:  A  close-up  of  the  liquid 
heat  filter.  The  filter  is  only  ~/%"  thick 
".ml  does  not  interfere  with  light 
beam  and  distribution  over  aperture. 

International  Projectionist        December,  1964 


s4tuttu<*i  Jleive  <z  tfiane    \    Uf  tvliU 

FIRST  SURFACE  COLD 
DICHROIC  REFLECTOR 

Better  yet,  also  replace  your  old  reflectors  now  with  these 
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flake  and    peel-proof   front   coating. 

THE  COATING  IS  GUARANTEED  FOR  2  YEARS! 


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If  you  want  crisp,  top-quality  prints— and  you  most  certainly  do— don't  waste  good 
negative  quality  by  pushing  your  laboratory  into  making  short  cuts.  Give  them 
time  to  do  the  job  right  with  the  right  materials.  In  other  words,  GO  EASTMAN 
all  the  way— negative  and  print-stock.  For  the  purchase  of  film,  technical  queries, 


and  service,  write  or  phone:  Motion  Picture  Products  Sales  Department, 
EASTMAN  KODAK  COMPANY,  Rochester,  N.Y.  14650,  or  the  regional 
sales  divisions,  200  Park  Avenue,  New  York,  N.Y.;  130  East  Randolph 
Drive,  Chicago.  III.;  6706  Santa  Monica  Boulevard,  Hollywood,  Calif. 


EASTMA 
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nrrie  10  ao  me  jod  ngnt  with  the  right  materials.  In  other  words,  GO  EASTMAN 
all  the  way— negative  and  print-stock.  For  the  purchase  of  film,  technical  queries, 


You  can't  stretch  time: 


If  you  want  crisp,  top-quality  prints-and  you  most  certainly  do-don't  waste  good 
negative  quality  by  pushing  your  laboratory  into  making  short  cuts.  Give  them 
time  to  do  the  job  right  with  the  right  materials.  In  other  words.  GO  EASTMAN 
all  the  way-negative  and  print-stock.  For  the  purchase  of  film,  technical  queries, 


and  service,  write  or  phone:  Motion  Picture  Products  Sales  Department, 
EASTMAN  KODAK  COMPANY,  Rochester,  N.Y.  14650,  or  the  regional 
sales  divisions,  200  Park  Avenue,  New  York,  N.Y.;  130  East  Randolph 
Drive,  Chicago,  III.;  6706  Santa  Monica  Boulevard,  Hollywood,  Calif. 


Fig  2:  Another  illustration  of  the 
Midway  Drive-In  in  San  Diego,  Calif., 
showing  35/70  XL  installation  using 
Venture  lamps. 

Strong  Ventarc  lamp — in  this  case 
with  a  21-in.  Balcold  mirror. 

Figue  6  shows  the  booth  of  the 
Northstar  Drive-in.  Their  screen  is 
a  very  unique  new  design  consisting 
of  corrugated  steel  sheets  that  have 
been  galvanized — after  which  several 
coats  of  a  special  white  paint  are 
applied. 

In  both  cases,  the  Manco-Vision. 
as  well  as  the  corrugated  sheet  metal 
screen,  have  excellent  horizontal  light 
distribution  over  the  entire  parking 
areas  of  the  Drive-Ins. 

These  tests  have  proven,  beyond 
any  doubt,  that  70MM  prints,  as  used 
in  Hard-Top  theaters,  require  abso- 
lutely no  change  for  running  in 
Drive-Ins,  which  is  of  special  inter- 
est in  regard  to  six-channel  sound, 
as  it  can  be  picked  up  magnetically 
just  as  in  the  indoor  houses.  The  six- 
channel  reproduction  also  enhances 
the  sound  outstandingly  even  through 
the  single  speaker. 

With  the  equipment,  as  described 
above,  the  center  screen  brightness 
in  70MM,  both  18  and  12  foot-Lam- 
berts, represents  an  unbelievable 
achievement  for  a  Drive-In  picture. 
One  should  not  forget  that  the 
brightness  recommendation  for  a 
70MM  print  indoors  is  not  more  than 
1 5-16   foot-Lamberts. 

In  both  cases  the  impact  of  hav- 
ing a  picture  with  such  brightness 
outdoors  is  beyond  description.  It 
(Continued  on  page    14) 


70/35MM  TESTS  AT  MIDWAY  DRIVE-IN 
THEATER  IN  SAN  DIEGO 
Data 

Motion   Picture    Research    Council    aluminum 
screen — gain  approximately  2.5    (1/3  of  panels 
on  right  side  of  screen  slightly  darker.) 
102  x  44  feet  —  4,488  square  feet. 
473  feet. 

Modified  XL  projector  heads  with  indoor  shut- 
ter blades,  50%  efficiency. 

Strong  ventarc  lamp  with  21  inch  silver  mirror 
burned  at  130  amps,  73  volts. 
1  Porthole  glass;  absorption  approximately  11%. 
1  Liquid  heat  filter  with  dichrck  coating;  ab- 
sorption approximately  14%. 
Focal  length  5  inches,  speed  f:2,  Bausch  & 
Lomb. 

Focal  length  4  inches,  speed  f:1.5,  Super  Kiptar 
(Isco)  plus  anamorphic  attachment. 
Focal  length  8  inches,  speed  f:2.2,  Kollmorgen. 


Technical 

Screen: 

Screen   Size: 

Throw: 

Projectors: 

Light  Source: 


In  the  Projection  Beam: 
In  the   Light  Beam: 

Lens  for  Wide  Screen: 

Lens    for    Cinemascope: 
.715  x  .868 
Lens  for  70MM: 


SCREEN  BRIGHTNESS  READINGS 
IN  FOOT-LAMBERTS 

1)  35MM  Cinemascope  Readings: 

Left  Center  Center  Right  Center 

8.0  8.0  6.0 

7.5  7.5  5.0 

8.0  7.5 

6.5 

7.5  Average  7.37  Average  5.5  Average 

2)  70MM  Readings: 

Left  Center  Center  Right  Center 

10  19  8.5 

8  17.5  8.5 
17.0 

16.5 

9  Average  17.5  Average  8.5  Average 
Distribution   approximately   —   51% 

We  are  mainly  concerned  with  the  70MM  situation,  and  assuming  that 
the  102  by  44  ft.  screen  image  is  as  close  in  information  as  we  can  get  it, 
I  have  calculated  backwards  using  the  8  in.  focal  length  of  the  lens  to 
determine  the  70MM  aperture  size. 

This  aperture  was  approximately  1.740  by  .744.  In  order  to  determine 
the  luminous  flux  in  the  center  of  the  image,  the  basic  lens  from  his 
CinemaScope  setting  having;  4  in.  focal  length  but  being  of  a  speed  of  f:1.5, 
contrary  to  the  8  in.  f:2.2  lens  as  used  during  the  measurements  and  show- 
ings, several  renter  readings  on  the  screen  were  made;  and  an  average  of 
7.75   foot-Lamberts  was   re^d    (average  of  two   readings — 7.5    and    8.0). 

The  4  in.  lens  would  have  equalled  a  picture  size  of  204  by  88  ft.,  or 
17.952  sq.  ft.  If  we  consider  a  screen  gain  of  2.5,  the  7.75  foot-Lamberts 
correspond  very  roughly  with  3  foot  candles  ?s  identical  to  53,856  lumens. 

Since  we  had  in  70MM  a  50%  distribution,  which  with  t]he  4  in.  lens 
may  even  have  been  worss  due  to  lens  fall-off,  it  looks  as  if  the  total  luminous 
flux  over  the  entire  aperture  area  was  verv  nearly  27,500  with  the  shutter 
running  which  clicks  closely  with  55.000  lumens  of  factory  output  rating. 


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by  Christie 


International  Projectionist         December.  1964 


Mitchell  Shows  New 
System  35  Camera 

HOLLYWOOD  —  The  Mitchell 
Camera  Corp.  used  one  of  New 
York's  club  shows  to  demonstrate  its 
newest  camera  system  to  400  film- 
industr)  executives  yesterday. 

Mitchell  called  upon  the  cast  and 
crew  of  Julius  Monk's  "Plaza"  show 
at  the  Plaza  Hotel  as  subjects  for 
simultaneous  filming  and  video-view- 
ing on  the  company's  new  "System 
35"  equipment.  The  s\stem  adds  a 
closed  circuit  and  videotape  capabil- 
ity to  the  Mitchell  Mark  II  35mm 
reflex  camera. 

Mitchells  s\stem  filmed  the  action 
and  telecasted  what  the  camera  saw 
on  monitors  placed  around  the  -up- 
per club  and  in  an  adjoining  cocktail 
bar. 

Edmund  Di  Giulio,  Mitchell's  chief 
engineer,  explained  that  the  system 
utilizes  electronics  to  provide  an  in- 
stantaneous "preview"  of  what  is  ac- 
tual!) goimr  on  film  to  the  director, 
actors,  and  others  on  the  set.  In  ad- 
dition, the  system  provides  an  im- 
mediate videotape  record  of  what  lias 
been  shot,  for  use  in  rehearsal  or  to 
correct  set  arrangement  or  lighting. 

Di  Giulio  also  pointed  out  that  Svs- 
tem  35  will  open  up  the  possibility 
of  multi-camera  film-making,  in 
which  several  cameras  can  be  used 
simultaneously  or  in  sequence,  and 
turned  "off  or  on"  by  remote  con- 
trol, while  the  director  monitors  all 
of  them  on  a  closed  circuit  TV  con- 
sole. 

Production  of  System  35  is  under- 
way, according  to  R.  G.  Tubbs.  presi- 
dent, who  said  first  deliveries  will 
be  made  to  customers  in  Europe  and 
the  U.S.  in  April.  Total  cost  of  the 
svstem  is  about  810.000. 


said,  continuing  attention  will  be 
given  to  erection  of  theatres  in  ma- 
jor shopping  centers,  following  the 
pattern  set  last  year  when  NGC 
opened  shopping  center  showhouses 
in  Albuquerque.  New  Mexico,  and  in 
Palos  Verdes.  Northridge  and  Thous- 
and Oaks  in  the  Los  Angeles  metro- 
politan area,  and  more  recently  at 
Los  Alamitos  in  Orange  Counh  . 

On  hand  for  the  gala  ground- 
breaking, which  was  conducted  with 
traditional  Hollywood  fanfare,  were 
Las  Vegas  Mayor  pro-tern  Phillip 
Mirahelli:  Albert  Horman.  a  director 
of  the  Charleston  Shopping  Center: 
\\  illiam  H.  Thedford.  Pacific  Coast 
dhisicm  manager  of  Fox  West  Coast 
Theatres,  subsidiary  oi  National  Gen- 
eral: Bob  Smith.  Los  Angeles  -  Las 
Vegas  district  manager:  and  French 
\(  tress  Chris  Carrole. 

The  ultimate  in  theatre  construc- 
tion, the  Fox  Theatre  will  be  equip- 
ped with  the  latest  projection  equip- 
ment, stereophonic  sound  equipment. 
climate-controlled  refrigeration  and 
modem  Bodiform  seats  built  by 
American  Seating  Company,  said  J. 
\\  alter  Bantau.  Fox  West  Coast  The- 
atres' construction  chief. 

The  building  and  construction  linn 
of  Horman  Construction  Company. 
Salt  Lake  City,  developers  of  the 
Charlestown  Plaza  Shopping  Center, 
will  build  the  theatre,  which  was  de- 
signed by  Fox  West  Coast  Theatres. 

\CC  is  also  a  leader  in  the  de- 
velopment of  closed  circuit  TV  in 
theatres,  packages  and  produces  live 
concerts  and  stage  shows  with  name 
talent,  and  another  subsidiary,  Car- 
thay  Center  Productions,  was  formed 
after  NGC  received  court  permission 
last  year  to  engage  in  motion  picture 
production. 


Las  Veqas  Showcase 
In  Shopping  Center 

Continuing  its  proTram  of  motion 
picture  theatre  expansion  in  shop- 
nine;  center  locations.  National  Gen- 
eral Corp..  is  completing  its  S400.000 
Fox  Theatre  in  the  Charlestown  Plaza 
Shopping  Center  in  Las  Vegas.  Nev. 

Eugene  V.  Klein,  chairman  and 
president  of  the  I  os  Angeles-based 
theatre  circuit  operator  and  enter- 
tainment comp-^iv.  has  announced 
that  the  900-seit  Las  Vesas  show- 
case is  the  latest  in  National  Gen- 
eral's announced  plans  to  add  to  its 
circuit  of  217  theatres  in  16  Western 
and  MidAS  estern  states  during  the 
next  three  years. 

In   the  expansion   program,   Klein 

International  Projectionist        December,  1964 


Opening  of  the  new  Fox  Theatre, 
scheduled  for  early  Spring,  1965,  will 
be  staged  in  traditional  Hollywood 
fanfare  of  stars,  searchlights,  music 
and    entertainment.  iP 


Projectionists 

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No  Replacement  or  Spare  Reflectors  Required 

See  your  dealer  or  write  for  full  particulars 
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11 


Investment  Opportunity 


Her  dreams  will  be  the  realities  of  tomorrow — sleek, 
shiny  birds  will  aim  at  the  moon  and  cars  will  whisk 
her  from  city  to  city  on  cushions  of  air. 

But  dreams  and  children  alike  must  have  the  proper 
atmosphere  to  thrive.  Freedom  and  stability  provide 
this.  It  is  our  task  to  foster  this  atmosphere  in  the  pres- 
ent and  protect  it  for  the  future.  We  have  an  investment 
in  it  for  our  children. 

You  can  protect  this  investment  by  joining  with  other 
leading  American  businessmen  to  promote  the  Treasury 
Department's  Payroll  Savings  Plan  for  U.  S.  Savings 
Bonds.  The  Treasury's  plan  works  for  stability  in  our 
economy  and  strength  in  the  defense  of  our  liberties. 


By  fostering  the  love  of  individual  freedom  and  the 
economic  well-being  of  the  nation,  it  provides  a  strong, 
steady  foundation  that  will  not  waver  under  the  chal- 
lenges of  tomorrow. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll — 
you  are  investing  in  the  dreamers  of  our  today.  In  the 
engineers,  scientists  and  teachers  of  our  tomorrow.  In 
America's  future.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  directly 
to  the  Treasury  Department,  United  States  Savings 
Bonds  Division,  Washington,  D.  C,  20226. 


in  your  plant... promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS 


The  U.S.  Government  docs  not  pay  for  this  advertisement.  It  is  presented  as  a  public  service  in  cooperation  with  the  Treasury  Department  and  the  Advertising  Council. 


12 


International  Projectionist         December,  1964 


Four  New  Film  Types 
Introduced  by  Kodak 
At   SMPTE   Convention 

Four  new  tvpes  of  motion  picture 
films.  offering  cinematographers 
greater  range  and  ease  under  vari- 
ous operating  conditions,  were  an- 
nounced by  Eastman  Kodak  Compa- 
ny at  the  convention  of  the  Society 
of  Motion  Picture  and  Television 
Engineers. 

The  films  include  a  new  reversal 
print  film,  an  extremely  fine-grain. 
low-speed  tvpe  for  recording  brighl 
daylight  scenes  and  a  high-speed,  me- 
dium grain  film  for  photographers 
working  with  available  light.  They 
are: 

1  Eastman  Reversal  Color  Print 
Film.  Type  7387,  16mm. 

2.  Eastman  l\  Panchromatic  Nega- 
tive Film,  Types  ~y22\  7221. 
35mm  and  16mm. 

3.  Eastman  Fine  Grain  Duplicating 
Positive  Film.  Types  5366  7366, 
35mm  and  16mm. 

4.  Eastman  XT  Panchromatic  Nega- 
tive Film.  Tvpes  5220  7220.  '>.">- 
mm  and   lOmm. 

Advances  in  emulsion  making  and 
processing  methods  have  enabled  Kn 
dak  to  introduce  Eastman  Reversal 
Color  Print  Film,  Type  7387.  Su- 
perior color  reproduction — especially 
in  greens  and  reds,  improved  sharp- 
ness, somewhat  finer  grain  and  high 
er  speed  are  features  of  this  new 
film. 

In  addition,  this  film  type  will  be 
of  value  when  reversal  film  prints 
are  used  for  work  prints  or  answer 
prints.  Its  reproduced  qualitv  closelv 
matches  that  of  an  Eastman  Color 
Print  on  Type  7385  through  a  Type 
7270  internegative.  It's  almost  a  full 
stop  faster  than  Eastman  Type  5260. 
and  has  a  high  quality  negative-posi- 
tive silver  sound  track  much  like  that 
of  Type  5269,  but  superior  in  cer- 
tain respects. 

The  new  Eastman  4X  Panchro- 
matic Negative  Film  will  permit  cam- 
eramen to  film  in  extremelv  adverse 
lighting  situations.  It  even  can  be 
used  in  places  where  the  lighting  is 
so  low  that  a  reading  cannot  be  ob- 
tained with  an  exposure  meter.  For 
this  reason  4X  Panchromatic  is  ex- 
pected to  be  used  extensively  by  news 
and  industrial  photographers  and  for 
night  shooting.  Despite  the  speed  of 
this  new  film  —  which  is  about  tw  ice 
the  speed  of  the  Eastman  Tri-X  Pan- 
chromatic Film  it  succeeds  -  there  is 
little   or   no   increase   in   granularity . 

The  third  new  film.  Eastman  Fine 
Grain  Duplicating  Positive  Film. 
Types  5366/7366,  is  faster  than  pres- 
ent   fine    grain    duplicating   positive 

1mkk.natio.nal  Projectionist         December,  1964 


films  and  makes  possible  a  fourfold 
increase  in  printing  speed  - —  without 
a  resulting  increase  in  granularity. 
Scene  information  can  be  placed 
more  easily  than  with  earlier  film 
tvpes.  The  film  can  be  processed  at 
high  temperatures,  as  in  an  Eastman 
Viscomat  Processor  using  Kodak 
Viscomat   Developer.  Type  III. 

Cinematographers  will  find  the 
new  black-and-white  Eastman  XT 
Panchromatic  Negative  Film,  Types 
5220  7220  of  special  value  for  ex 
terior  motion  picture  work.  This  film 
provides  extremely  fine  grain  and 
sharpness  for  outside  photography  or 
lor  other  situations  where  the  inher- 
ent light  level  is  high.  It  has  approxi- 
mately one-third  the  speed  of  East- 
man Plus-X  Panchromatic  Negative 
Film,  Tvpes   1231  and  7231. 

\\  Idle  the  new  Eastman  4X  Pan 
will  extend  available  speed  range  on 
the  high  side.  Eastman  XT  Pan  will 
extend  the  speed  range  on  the  low 
side.  Color  sensitivity  and  filter  fac- 
tors for  XT  Pan  are  about  the  same 
as  those  for  other  Eastman  negative 
films.  iP 

SMPTE  Asks  for 
Color  TV   Control 

M.\\  YORK  —  Careful  control  in 
staging  and  photograph)  of  color 
films  for  television  has  been  recom- 
mended bv  a  special  engineering  sub- 
committee of  the  Society  of  Motion 
Picture  and  Television  Engineers. 

I  he  joint  subcommittee  of  the  So- 
cietv"s  Television  and  Color  Com- 
mittees has  been  working  to  estab- 
lish >\IPTE  Recommended  Practices 
for  density  and  contrast  range  of 
films  for  color  television.  During  this 
work,  the  group  reported,  "it  be- 
came evident  that  optimum  control 
of  release  print  density  range  could 
be  achieved  onlv  if  the  original 
photography  were  carefully  con- 
trolled.'" 

Subcommittee  Chairman  John  M. 
Waner.  taking  note  of  the  special 
problems  of  color  television  film 
transmission  and  reception,  summar- 
izes the  findings  as  follows: 

•  It  is  desirable  to  limit  the  den- 
sity range  of  the  color  print,  and  to 
include  a  ''reference  white"  and 
"reference  black"  in  the  scene  for  the 
benefit  of  the  video  operator  or 
automatic  video  control. 

•  The  recommended  maximum  and 
minimum  refiectances  of  fully  illumi- 
nated materials  that  are  to  be  re- 
produced with  good  detail  are  60% 
for  whites  and  3%  for  blacks,  with 
existing 
niques. 


film     products     and     tech- 


used  for  special  effects  and  night 
scenes. 

•  It  is  emphasized  that  the  most 
important,  practical  and  effective 
way  to  control  the  density  range  of 
the  color  print  is  in  the  staging  and 
photography,  rather  than  in  the  final 
printing. 

"There  is  no  sharp  dividing  line," 
the  subcommittee  reported,  "between 
color  prints  that  would  be  generally 
regarded  as  acceptable  for  television 
transmission  and  those  that  would 
be  considered  unacceptable. 

"The  particular  recommendations 
for  color  television  films  that  are 
described  herein  represent  observa- 
tions taken  from  films  with  scenes 
that  did  reproduce  well  on  a  typical 
color  television  system. 

"Deviation  from  these  recom- 
mendations should  be  accompanied 
with  caution  and  should  be  under- 
taken only  if  a  particular  effect  is 
desired  or  if  tests  show  that  good 
color  television  reproduction  can  be 
obtained  from  such  films  and  that 
they  can  be  printed  and  intercut 
properly  with  films  that  are  known 
to  transmit  successfully." 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport,  Pa. 


•  For  a  fully  lighted  day  interior 
scene,  a  lighting  ratio  of  2  to  1  is 
recommended.  Higher  ratios  may  be 


Norelco 

projection 
equipment- 
Available  from 
leading   theatre   supply 
dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment    Division 
100    E.  42nd   St.,    New   York    17,   N.Y. 


13 


70  mm 


from  page  10 
could  only  be  emphasized  by  saying 
that  in  this  manner  it  is  possible  to 
to  show  Drive-in  audiences  a  picture 
they  have  never  seen  before — and 
such  presentation  will  also  solve  the 
entire  problem  of  low-key  and  night 
scenes  for  Drive-Ins. 

The  accompanying  chart  is  a  com- 
pilation of  technical  data  prevailing 
at  both  Drive-Ins  mentioned  above, 
as  well  as  a  true  report  on  the  screen 
readings  made  during  my  tests. 

SATSE  Local  Riled 
About-  Film  Prints 

Charging  that  "for  years  now  the 
condition  of  too  many  prints  ex- 
hibited in  New  York  City  theatres 
has  been  very  bad,"  Moving  Picture 
Machine  Operators'  Union,  Local  306, 
IATSE,  has  issued  a  warning  to  the 
film  companies  that,  if  something  is 
not  done  about  it,  action  will  be 
taken  by  the  union. 

In  a  letter  to  the  heads  of  all  the 
distribution  companies  Steve  DTn- 
zillo,  Local  306's  New  York  business 
agent,  put  them  on  notice  that  "un- 
less a  marked  improvement  in  print 
condition  takes  place  within  the  next 
few  months"  the  union  "will  have 
no  alternative"  but  to  take  the  follow- 
ing steps: 

1.  "Reject      the      very      bad 
prints." 

2.  "Refuse    to     do     extensive 
print   repair   during   showtime." 

3.  "Charge   overtime   for  any 
print  repairs  other  than  normal 
inspection   for    cuts,     occasional 
bad  splices  and  cue  marks." 
"There  are  exceptions,  to  be  sure, 

which  include  the  initial  new  prints 
at  the  start  of  a  release,"  DTnzillo 
told  the  company  heads.  "It  is  obvi- 
ous, however,  that  most  often  prints 
are  still  kept  in  service  long  after 
they  should  have  been  junked." 

The  "situation"  was  held  to  be  "so 
bad  that  it  is  causing  an  increasing 
number  of  disputes  between  this 
union   and   theatre  managements." 

"Many  prints"  were  said  to  be  in 
such  bad  condition  "that  the  pro- 
jectionist should  refuse  to  run  them 
according  to  the  city  code  and  there- 
by protect  his  license." 

"Some  companies  are  more  respon- 
sible than  others  in  servicing  the- 
atres with  useable  prints,"  added  the 
letter.  "No  effort  is  here  being  made 
to  blame  all  equally.  Nevertheless 
there  needs  to  be  a  general  coordi- 
nated  industry   effort,    as   well    as    a 

14 


company-by-company  one,  if  there  is 
to  be  demonstrable  improvement." 

"For  the  good  of  all  concerned" 
the  company  heads  were  exhorted  to 
give  the  problem  their  "immediate 
and  urgent  attention." 

Stambaugh  Named  by 
UC's  Carbon  Products 

Robert  P.  Stambaugh  has  been 
named  director  of  development  for 
the  Carbon  Products  Division  of 
Union  Carbide  Corp.  In  his  new  posi- 
tion, he  will  be  located  at  the  divi- 
sion's Technical  Center  at  Parma, 
Ohio. 

Mr.  Stambaugh  was  graduated 
from  Purdue  University  in  1942  with 
a  B.  S.  degree  in  chemical  engineer- 
ing, and  joined  Union  Carbide's 
Plastics  Division.  He  transferred  to 
National  Carbon  Co..  now  known  as 
the  Carbon  Products  Division,  in 
1946,  and  went  to  Cleveland  in  1950 
as  a  development  engineer.  Trans- 
ferred to  Niagara  Falls,  N.  Y„  he 
became  head  of  the  works  laboratory 
there  in  1955,  was  named  assistant 
plant  manager  in  1956,  assistant  de- 
velopment manager  in  1957,  and 
since  1959  has  ben  manager  of  the 
Niagara   Development  Laboratory. 

Mr.  Stambaugh  is  a  member  of  the 
Electrochemical  Society  and  the 
American  Chemical  Society. 

SMPTE  Conference 
Set  for  March  28 

NEW  YORK  —  Planning  of  the 
most  diverse  and  comprehensive  con- 
ference in  the  history  of  the  Society 
of  Motion  Picture  and  Television 
Engineers  (SMPTE)  is  well  under- 
way. 

The  97th  semiannual  conference 
and  exhibit  is  set  for  March  28  to 
April  2,  at  the  Ambassador  Hotel  in 
Los  Angeles.  Program  Chairman  is 
Dr.  Richard  J.  Goldberg,  Technicolor 
Corp.,  Research  and  Development 
Division. 

There  is  an  exhibit  area  for  81 
booths  of  equipment  to  be  located 
adjacent  to  the  technical  sessions  in 
the  hotel. 

Topics  and  topic  chairmen  have 
been  chosen  and  numerous  papers 
have  already  been  selected.  Al- 
though the  formal  topical  structure 
is  broad,  reflecting  the  growing  in- 
terests of  SMPTE's  members,  any 
papers  which  do  not  fit  under  one 
specific  topic  heading  will  neverthe- 
less be  welcomed  for  the  program: 
they  will  be  assigned  a  place  in  the 
proceedings  by  the  program  chair- 
man. 

Authors   forms    are   availale   from 


SMPTE  Elevates 
15  Members  To 
Society  Fellowships 

Fifteen  members  of  the  Society  of 
Motion  Picture  and  Television  En- 
gineers (SMPTE)  are  being  elevated 
to  the  grade  of  Fellow  of  the  Society 
in  recognition  of  their  outstanding 
contributions. 

The  15  new  Fellows,  announced 
by  out-going  president  Reid  H.  Ray 
are:  Alex  E.  Alden,  Wallace  F. 
Bischof,  James  P.  Corcoran,  C.  Rus- 
sell Dupree,  George  R.  Groves,  Wil- 
liam G.  Hyzer,  Saul  Jeffee,  Harry 
W.  Knop,  Jr.,  Orlando  S.  Knudsen, 
Anthony  H.  Lind,  Albert  S.  Pratt, 
Alex  S.  Quiroga,  Roderick  T.  Ryan. 
William  M.  Sheahan  and  Edward  A. 
Winkler. 

Fellows  Recognized 

The  new  Fellows,  nominated  by  a 
committee  headed  by  SMPTE  past- 
president  John  W.  Servies,  were  rec- 
ognized during  the  Society's  96th 
Technical  Conference  in  New  York. 

Alden  has  been  staff  engineer  of 
SMPTE  for  the  past  three  years. 
Previously,  he  was  employed  for  15 
years  in  the  research  and  develop- 
ment division  of  20th  Century-Fox 
Film  Corp.,  and  in  1962  was  a  co-re- 
cipient of  the  Academy  Technical 
Award  given  to  20th  Century-Fox 
for  a  decompression  printer  for  TV 
release  of  CinemaScope  pictures. 

Bischof  is  project  manager  for 
RCA  Redstone  Pictorial  Services, 
Huntsville,  Ala.  A  founder  of  SM- 
PTE's Huntsville  Section,  he  is  a 
graduate  of  The  Colorado  College 
and  did  graduate  work  in  Chemistry 
at  the  University  of  New  Mexico 

20th  Century  Fox  official 

Corcoran  is  sound  director  for 
20th  Century-Fox  Film  Corp.  in  Los 
Angeles.  He  is  a  graduate  of  the 
University  of  Washington  and  has 
been  with  Fox  since  1938.  Mr.  Cor- 
coran has  served  on  the  Society's 
Sound  Committee  and  has  contrib- 
uted papers  to  the  SMPTE  Journal. 

Dupree  is  development  engineer 
for  J.  A.  Maurer,  Inc.,  in  Long 
Island  City,  N.  Y.  Previously,  he  was 
an  engineer  at  the  Army  Pictorial 
Center  in  Long  Island  City,  NY.  Mr. 
Dupree  is  current  chairman  of  the 
SMPTE.  iP 


Chairman  Goldberg,  or  from  any 
topic  chairman,  or  from  SMPTE 
headquarters  in  New  York. 

The  complete  list  of  topics  and 
topic  chairman  will  appear  in  the  next 
issue  of  IP.  iP 


International  Projectionist         December,  1964 


Cosby  Sets  Up  New 
Carbon   Products   Regions 

The  establishment  of  two  regional 

divisions  in  the  arc  carbon  market- 
ing group  of  Union  Carbide  Cor- 
porations Carbon  Products  Division 
was  announced  recently  by  J.  \\  . 
1  osby,  arc  carbon  marketing  man- 
r.  Mr.  ('o?l>\  added  that  the 
change  was  necessitated  in  order  to 
i  •'iitinue  to  provide  the  best  possible 
customer  service  in  the  face  of  in- 
creasing business  activity. 

The  eastern  division,  to  be  head- 
quartered in  New  York  ('itv.  will  be 
headed  1>\  P.  H.  Freeman  as  man- 
ager. Western  division  manager  will 
be  \\  .  T.  Brenner,  who  will  he  Io- 
cated  in  Chicago. 

Freeman  joined  I  nion  Carbide  in 
1950  following  graduation  from  Ni- 
na I  niversity.  \fter  military  ser- 
vile from  1951  to  1953,  li«'  returned 
to  the  arc  carbon  sales  department 
and  served  in  both  Charlotte,  Y  C. 
and  New  York.  Since  January,  L962, 
be  has  been  arc  carbon  -ale<  man- 
ager. 

Brenner  was  graduated  from  Seton 
Hall  I  niversit)  in  1950  with  a  bache- 
lor ol  science  degree.  Following  ser- 
vice in  the  \rm\  \ii  Corps  .  he  work- 
•il  with  two  motion  picture  companies 
and  joined  I  nion  Carbide  in  L959  as 
an  arc  carbon  sales  engineer  with 
assignments  in  Charlotte.  N.  C,  and 
most   recentl)    in   Dallas.  Texas. 

Kalart  Firm  Gets 
Freedom  Award 

The  Kalart  Co.,  Inc.  is  one  of 
7  Connecticut  Industrial  firms  of 
a  total  of  104  U.  S.  firms 
who  received  awards  from  the  "Tools 
for  I'  reedom"  Foundation.  U.  S.  in- 
dustrial firms  donated  a  total  of 
SuOO.UOO  worth  of  new  equipment  to 
be  used  in  the  International  Center 
for  Advanced  Technical  and  Voca- 
tional training,  a  United  Nations 
sponsored  facility  for  the  develop- 
ing nations  in  Turin.  Italy.  "Tools 
for  Freedom"  is  a  non-profit  organi- 
zation formed  by  the  U.  S.  business 
community  to  advance  technical 
training  in  under-developed  coun- 
Vtries. 

The  Kalart  Company,  Inc.,  through 
it-  audio-visual  division,  The  Vic- 
tor Animatograph  Corp..  donated  a 
Kalart  Victor  Model  70-25MP  16mm 
sound  projector  with  a  12-inch  sep- 
arately cased  speaker.  This  unit  in- 
cluded a  special  built-in  pre-ampli- 
fier  and  interchangeable  sound  heads 


Kalart  officials  show  their  award 
from  the  Tools  for  Freedom  Founda- 
tion. 


which  permit  projection  of  either  op- 
tical or  magnetic  sound  tracks. 

I  he  Victor  Animatograph  Corp. 
manufactures  and  distributes  an  ex- 
tensive line  of  L6mm  sound  projec- 
tors and  related  audio-visual  equip- 
ment on  a  world  w  i<le  basis. 

Increased  emphasis  bv  the  Export 
Department  of  the  Victor  Animato- 
graph Corporation  has  resulted  in 
a  far  reaching  program  foi  the  de- 
velopment and  um'  ol  audio-visual 
techniques  in  foreign  countries.  From 
Iceland  to  Laos,  regardless  of  cli- 
mate or  conditions.  Kalart  Victor 
made  projectors  are  used  to  teach 
and  train.  Complete  engineering  and 
technical  services  are  offered  bv  the 
\  ictor  Animatograph  Corp.  to  all  for- 
eign countries  who  request  aid  in 
the  development  of  their  audio-visual 
departments.  Thru  the  extensive  use 
of  16mm  sound  movies  manv  of  the 
underdeveloped  countries  are  able  to 
train  and  teach  their  personnel  in 
modern  methods  and  procedures.  iP 


OUT  OF  PRINT 

MITCHELL  MANUAL 

AVAILABLE! 

The  renowned  "Manual  for 
Practical  Projection"  by  Robert  A. 
Mitchell  is  now  out  of  print,  ac- 
cording to  an  announcement  by  the 
bookseller.  International  Projec- 
tionist. 

Returns  from  our  retail  outlets 
have  been  consolidated  and  we 
now  have  approximately  40  vol- 
umes of  the  Mitchell  Manual  avail- 
able on  a  first-come-first  served 
basis. 

These  books  are  in  brand  new 
condition,  complete  with  dust 
jackets;  have  never  been  used. 
This  rare  publication  can  be  yours 
for  $10  cash  or  money  order. 
Sorry,  no  C.O.D.  or  foreign  orders 
can  be  accepted  at  this  price. 

Sheehan    Booksellers 

P.O.  Box  6174 
Minneapolis,  Minn.    55424 


America's 
headquarters 

for  all 
theatre  equipment 


supplies 


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International  Projectionist 


December.  1964 


15 


Our  greetings  and  best  wishes  for  a  Merry  Christmas 
and  a  New  Year  of  fruitful  discussions  pointing  the 
way  to  fulfillment  of  the  world's  hope  for  lasting 
peace. 


INTERNATIONAL  ALLIANCE  OF  THEATRICAL  STAGE 
EMPLOYES  AND  MOVING  PICTURE  MACHINE 
OPERATORS  OF  THE  UNITED  STATES  AND  CANADA 


Affiliated  with  the  A.F.L.-C.I.O. 


RICHARD   F.   WALSH 

International 

President 


HARLAND   HOLMDEN 

General 

Secretary -Treasurer 


INTERNATIONAL 


- 1 


!;   1 


i 


i 


i' 


Projection  booth  of  the  Walter  Reode-Sterling  Community 
Theatre,  Eatontown,  N.  J.  showing  Ashcraft's  Core-Lite 
arc  lamps.  The  projected  Cinemascope  picture  is  40  feet 
wide  at  a  projection  distance  of  95  ft.  The  projectors  are 
Simplex  XL  with  Simplex  XL-Norelco  sound  system.  Photo 
courtesy  C.  S.  Ashcraft  Mfg.  Co. 


(X89C<>)    aoTrfATa  «*ap*0 


JANUARY 
VOLUME  40 
40c  A  COPY 


1965 
NUMBER  1 
$3.00  A  YEAR 


Investment  Opportunity 


The  tools  this  young  apprentice  is  learning  to  make  will 
one  day  be  used  to  turn  out  your  company's  products. 

A  great  investment  in  time,  money,  effort  and  faith 
will  have  to  go  into  making  him  productive.  Every  one 
of  us  has  a  stake  in  his  success — and  every  one  of  us 
must  invest  something — for  on  the  developing  skills  of 
America's  young  tool-makers  depends  the  continued 
functioning  of  all  industries. 

You  can  protect  your  investment  by  joining  with  other 
leading  American  businessmen  to  promote  the  Treas- 
ury's Payroll  Savings  Plan  for  U.S.  Savings  Bonds.  The 
Treasury  Department's  Plan  helps  safeguard  the  individ- 


ual  liberties,  and  encourages  the  industrious  and  respon- 
sible attitudes  so  necessary  for  the  growth  of  our  econ- 
omy and  the  well-being  of  our  society. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll — 
you  are  investing  in  the  next  generation  of  America's 
skilled  craftsmen  and  technicians.  You  are  investing  in 
our  future.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  to  the 
Treasury  Department,  United  States  Savings  Bonds 
Division,  Washington,  D.C.,  20226. 


in  your  plant... promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS     §({ 

•  The  U.  S.  Government  docs  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism,  Tlie  Advertising  Council  and  this  magazine.  • 


; 


INTERNATIONAL 

PROJECTIONIST 


Volume  40  Jan.  1965  No.    1 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY  GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO  ASSOCIATES 

National    Advertising    Representatives 

545    Fifth   Avenue.    New   York,    N.  Y.,    10017 

Telephone   Murrayhill    7-7746 

(Area   Code   212) 


IN  THIS  ISSUE 

Part    II 

70  mm    In    Drive-in's  4 

By  Walter  Beyer 

Another  Walter  Reade  Theatre,  and 

New   Ashcraft    Installations    6 

Getting   Ready  for  Spring  1  1 

News    Notes  —  Technical    Hints  —  Miscellaneous    Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
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sumes no  responsibility  for  personal  opinions  appearing  in 
signed  articles,  or  for  unsolicited  articles.  Entire  contents 
copyrighted  1965  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO.  <3^^g> 


International  Projectionist         January,  1965 


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INTERNATIONAL   PROJECTIONIST 


Volume  40 


January,   1965 


Number   1 


Part  II 


Drive-in  Operations  with 
70  mm  Equipment 


By  Walter  Beyer 
Universal  Pictures 


If  one  thinks  of  a  shortage  of  70MM  prints  it  may  be  worthwhile  to  list 
all  the  pictures  that  are  now  and  in  the  near  future  available,  such  as: 
Technicolor  70mm  prints  (general  release)  —  "Oklahoma"  "Sleeping 
Beauty"  "Around  the  World  in  80  Days"  "South  Pacific"  "Solomon  and 
Sheba"  "Spartacus"  "Porgy  and  Bess'  "The  Big  Fisherman"  "Ben  Hur" 
"Exodus"  "West  Side  Story"  "Black  Tights"  "King  of  Kings"  "El  Cid" 
"Can-Can"  "The  Alamo"  "Mutiny  on  the  Bounty"  "Cleopatra"  "Lawrence 
af  Arabia"  "It's  a  Mad,  Mad,  Mad,  Mad  World"  "The  Cardinal"  "Becket" 
'My  Fair  Lady"  (to  be  released)  "The  Greatest  Story  Ever  Told"  (to  be 
released)  "Cheyenne  Autumn"  (to  be  released)  "The  Golden  Head"  (to 
be  released)  "Fall  of  the  Roman  Empire"  (to  be  released)  "The  Long 
Ships"  (to  be  released)  "Lord  Jim"  (to  be  released)  "Circus  World"  (to  be 
released)  "The  Agony  and  the  Ecstasy"  "Sound  of  Music"  "Magnificent 
Men  in  their  Flying  Machines"  "The  Day  Custer  Fell"  "Taras  Bulba" 
"Barrabas"    "Carpetbaggers". 

I  like  to  say  that  my  trial  runnings  of  "Spartacus"  material,  for  instance, 
which  is  technically  one  of  the  best  Super-Technirama  70MM  pictures 
released,  created  in  every  sequence  an  audience  participation  effect.  This  is 
possible  since,  in  spite  of  the  huge  Drive-In  screen,  the  viewing  distance 
for  the  average  patron  is  always  at  least  more  than  two  screen  widths  away 
and,  therefore,  remains  overall  a  small  size  picture.  Whereas,  with  such 
brilliance  one  loses  the  awareness  of  screen  location  and  really  views  the 
entire  picture  content  with  an  increased  depth   effect. 

Concluding,  it  should  be  stated  that  the  70MM  print  alone,  however, 
is  not  the  solution  for  the  Drive-In  theaters,  and  even  though  many  are 
already  equipped  with  70MM  projectors,  I  would  like  to  emphasize  very 
strongly  that  in  order  to  warrant  the  showing  of  70MM  prints  these  Drive- 
ins  should  live  up  completely  to  specifications  as  close  as  possible  to  the  data 
as  attained  and  published  from  these  tests. 

As  to  special  applications  of  the  70MM  release  print,  one  could  of 
course  write  an  entire  article  on  that  subject  by  itself.  Within  the  scope 
of  this  paper  however,  I  like  to  restrict  myself  to  some  of  the  latest  develop- 
ments  that  have   a   direct  bearing   to    increasing   the   availability   of   70MM 

4 


Figure   7  A 


International  Projectionist        January.  1965 


TECHNICAL  DATA  DURING  TESTS  AT  THE 
NORTH  STAR  DRIVE-IN  THEATER,   DENVER 


1)    Wide  Screen  Readings 

Screen   brightness   readings: 
15  4.5  3 

3  5.5  3.5 

3.5  5  3 

4 

4.5 


Average   foot-Lamberts:    3.2 

4.7  52 

Light  distribution:  70% 

Lens  used:  4  inch  f:2 

Aspect  ratio:  2  to  1 

Jet   arc    burned    at    150    amps.,    100 

volts 

Screen    image   size:    Approx.    114    x 

57   feet. 

Throw:  Approximately  552  feet 
Screen  size:    135  x  60  feet. 


2)    70MM  Readings 

Screen   brightness   readings: 
5.5  10  6 

5  11  6.5 

5.5  10  5.5 

13 
11.5 
12 
11.5 
Average    foot-Lamberts:    5.2 
11.3   6.0 

Light  distribution:  50% 
Lens  used:  Kolmorgen  7.5  inch  f:2 


Jet    arc    burned    at    150    amps.,    100 

volts 

Screen  image  size:   135  x  60  ft. 


Figure   7C 


prints.  By  that  I  mean  the  possibility  to  provide  70MM  prints  from  pictures 
that  are  originally  photographed  in  CinemaScope  or  Panavision  on  35MM 
film. 

This  process  is  illustrated  with  the  aid  of  film  clippings  from  the  picture 
"Carpetbaggers".  Figure  7  shows  at  "A"  the  squeezed  camera  original 
negative.  "B"  is  the  2:1  squeezed  print  for  35MM  release  and  "C"  repre- 
sents a  70MM  release  print  clipping  made  from  the  35MM  original  negative. 
In  the  Technicolor  Laboratories  the  original  negative  is  unsqueezed  and 
minutely  magnified  to  fit  perfectly  on  70MM  film  for  a  compatible  70MM 
release  print. 

With  this  process  the  producer  has  an  excellent  opportunity  to  provide 
first  run  and/or  roadshow  houses  and  of  course  properly  equipped  Drive-Ins 
with  70MM  prints  of  outstanding  quality.  These  prints  are  not  to  be 
classified  as  "blow-ups"  but  rather  "print-up"  pictures.  The  unsqueezing 
in  the  printer  is  not  a  blow-up  or  magnification  and  does  not  reduce  picture 
quality. 

Another  special  type  of  prints  from  Technicolor  are  the  single  film 
70MM  prints  for  Cinerama,  a  clipping  of  which  is  shown  on  Figure  8.  This 
print  has  inherent  a  minute  squeeze  horizontally  to  compensate  for  the 
"tangend"  projection  situation  as  it  prevails  at  the  sides  when  showing  it 
into  a  deeply  curved  screen.  It  thus  avoids  "elongation"  of  faces,  etc.,  on 
the  sides  but  does  not  require  anamorphic  projection   lenses. 

Last  but  not  least  I  would  like  to  disclose  a  very  special  70MM  film 
clipping  related  to  using  70MM  print  stock  to  carry  the  left  and  right  eye 
images  of  a  35MM  picture  produced  in  3D. 

This  print,  again  made  by  Technicolor  shows  that  the  70MM  print  can 
easily  accommodate  the  two  3D  -  images  in  perfect  registration  for  a  single- 
film    single-projector    3D    presentation. 

In  cooperation  with  the  technical  director  of  technicolor,  Mr.  W.  Pohl, 
I  have  made  successful  tests  on  a  big  screen  proving  this  method  to  be 
desirable  for  3D  showings  either  new  productions  or  re-releases  in  this 
medium. 

It  would  exceed  the  scope  of  this  article  to  go  into  further  details  on 
beam-splitting  etc.  at  this  point  but  I  considered  it  worthwhile  to  disclose 
this  special  application  of  70MM  film  at  this  time,  as  a  possible  prospect 
for  the  future. 

There  are  of  course  many  more  uses  for  the  70MM  print  as  image 
carrier  for  special  types  of  shows,  such  as  for  instance  used  at  the  World's 
Fair  with  10  perforation  pulldown  projectors  etc.,  too  numerous  to  describe 
in   detail.  jp 

International  Projectionist         January.  1965 


Figure   8 


Figure   9 


RURAL  MOTIF — Walter  Reade-Sterling's  new  Community  Theatre,  Eatontown, 
N.  J.  The  design  and  construction  follows  the  rural  motif  established  last  year 
with  the  opening  of  the  Reade-Sterling  Community  Theatre  in  the  Barclay  Farms 
section  of  Cherry  Hill,  N.  J.  Photo  courtesy  C.  S.  Ashcraft  Mfg.  Co. 


The  Cover  Story 

Walter  Reade-Sterling  Theatres  Make 
Fourth  Ashcraft  Core-Lite  Installation 


Walter-Reade-Sterling,  Inc.,  operat- 
ing more  than  50  hard  tops  and 
drive-ins  in  New  Jersey,  New  York 
and  Long  Island,  recently  opened  its 
latest  new  theatre  in  Eatontown,  N.  J. 

The  new  Community  Theatre  seats 
slightly  less  than  900  people,  and  is 
a  near  duplicate  in  design  and  con- 
struction of  their  new  Community 
Theatre  which  opened  in  the  Bar- 
clay Farms  section  of  Cherry  Hill, 
N.  J.  last  fall.  The  new  Eatontown 
Theatre  is  almost  identically  equipped 
as  the  Cherry  Hill  Theatre  (see  Nov., 
1964  IP)  which  incidentally  marks 
the  fourth  Walter  Reade-Sterling  the- 
atre to  be  equipped  with  Ashcraft 
Core-Lite  arc  lamps  and  twelve  phase 
selenium  rectifiers  within  the  past 
year.  Other  Reade  theatres  making 
Core-Lite  installations  are  the  Strand 
in  Plainfield,  N.  J.  and  the  Coronet, 
New  York  City. 

Sam  Colisimo,  chief  of  projection 
and  maintenance  for  all  Walter 
Reade-Sterling  Theatres,  said  follow- 
ing the  Eatontown  opening,  "The 
projected  picture  on  the  screen 
should  be  reproduced  with  the  same 
lighting    characteristics    as    when    it 


was  photographed.  Modern  photog- 
raphy demands  modern  projection 
arc  lamps  if  perfect  screen  lighting 
is  to  be  realized."  iP 


Sound  Service  Men 
Receive  IATSE  Boost 

IATSE  sound  service  engineers 
will  receive  a  wage  increase  of  $7.50 
per  week  in  two  annual  steps  under 
terms  of  an  agreement  announced 
by  Richard  F.  Walsh,  president  of 
the  union. 

The  new  contracts  with  Altec  and 
RCA  provide  a  $5  raise  effective 
Jan.  2,  to  be  followed  by  another 
$2.50  on  Jan.  2.  1966.  They  ex- 
pire    at    the    end    of   that    year. 

The  companies  also  agreed  to 
grant  a  third  week  of  paid  vacation 
after  12  years  of  service.  Heretofore 
it  was  15  years.  In  addition,  the 
sound  men  will  be  offered  a  major 
medical  insurance  plan.  As  in  the 
past,  the  Altec  and  RCA  pacts  are 
expected  to  set  a  pattern  for  later 
agreements  with  a  number  of  other 
sound  service  companies.  iP 


SMPTE  Conference 
Names  Topics  Chairmen 

NEW  YORK  — Topics  and  topic 
chairmen  have  been  set  for  the  97th 
semiannual  SMPTE  conference  and 
exhibit,  set  for  March  28  to 
April  2,  at  the  Ambassador  Hotel  in 
Los  Angeles.  Program  Chairman  is 
Dr.  Richard  J.  Goldberg.  Technicolor 
Corp.,  Research  and  Development 
Division. 

Applications  in  Science  and  Tech- 
nology: Dr.  Philip  N.  James,  Techni- 
color Corp..  2800  West  Olive  Ave., 
Burbank.  Calif.  91505. 

Aerospace  Cinematography:  Lloyd 
E.  Watson,  Aerospace  Corp..  P.  0. 
Box  95085,  Los  Angeles.  Calif. 
90045. 

Instrumentation  &  High  -  Speed 
Photography:  John  Waddell  Douglas 
Aircraft  Co..  3000  Ocean  Park  Blvd.. 
Santa   Monica,   Calif. 

Laboratory  Practices:  W.  Daniel 
Carter,  Consolidated  Film  Industries, 
959  Seward  St.,  Hollywood,  Calif. 
90038. 

Motion  Picture  &  Television 
Abroad:  Rodger  J.  Ross,  Canadian 
Broadcasting  Corp.,  354  Jarvis  St., 
Toronto,   Ont.,   Canada. 

Motion  Pictures  &  Television  in 
Education:  Dr.  Bernard  R.  Kantor, 
University  of  Southern  California, 
Dept.  of  Cinema,  Los  Angeles.  Calif. 
90007. 

Motion  Pictures  &  Television  in 
Medicine:  Lowell  Wentworth,  Bay 
State  Film  Production,  Inc.,  80 
Boylston  St.,  Boston,  Mass. 

New  Materials  and  Processes: 
George  W.  Boemler,  Kalvar  Corp. 
12345  Ventura  Blvd.,  Suite  J.  Studio 
City,  Calif.  91604. 

Photographic  Science  &  Engineer- 
ing: Alan  Gundelfinger,  Technicolor 
Corp..  6311  Romaine.  Hollywood  38. 
Calif. 

Rapid- Access  Photography :  Dr. 
LeRoy  M.  Dearing,  L.  M.  Dearing 
Associates,  Inc.,  12345  Ventura 
Blvd.,  Suite  Rm  Studio  City,  Calif. 
91604,   and 

Television  Developments:  Eliot 
Bliss,  Columbia  Broadcasting  Sys- 
tem, Inc.  TV,  7800  Beverly  Blvd., 
Los  Angeles,  Calif.  iP 


16mm-35mm  Xenon 
System  Added  by  Xetron 

The  Xetron  Division  of  Carbons. 
Inc.,  Boonton,  N.  J.,  announces  the 
addition  of  the  Cinemeccaniea  CX- 
900  lamphouse  to  their  line  of  Xenon 
light  sources.  This  is  a  compact, 
highly    efficient    unit,    designed    to 

International  Projectionist        January,  1965 


operate  with  16mm  and  35mm  pro- 
jection systems. 

\\  lien  operating  at  45  to  50  am- 
peres, this  lamphouse  will  deliver 
1000-5000  lumens  of  high  intensity 
light.  It  is  a  complete  unit  including 
the  high  voltage  starter,  ventilating 
fan.  seven  inch  reflector  and  elapsed 
time  meter. 

It  is  especially  suitahle  for  small 
screening  rooms  using  35mm  projec- 
tion and  with  16mm  applications  to 
replace  the  carbon  arc  lamp.  iP 

Identification  of 
16mm  Film  Simplified 
In  New  Method 

\  new  method  of  "branding" 
16mm  film  for  positive  owner  identi- 
fication will  he  uiv.-n  a  "sneak  pre- 
view" at  the  Film  Council  meeting 
in  New  York  Citv  on  \pril  21-22  hv 
the  Film  Identification  Bureau. 

The  Film  Identification  Bureau,  a 
Division  of  the  Jack  C.  Coffev  Co., 
Inc..  North  Chicago.  III.,  will  he  de- 
Bcribed  in  detail.  The  "branding" 
system  will  receive  an  industry-wide 
introduction  at  the  Department  of 
\udio- Visual  Instruction  convention 
in  Milwaukee  immediatelv  following 
on  April  26-30. 

The  service  uses  a  patented,  pre- 
cision machined  code  press  and 
matching  plates  to  emboss  small  in- 
dentations on  the  frame  lines  of 
film.  The  never-duplicated  code  is 
unable  to  be  copied  and  will  prov  ide 
positive  ^identifying  marks  for  film 
libraries,  producers,  schools  and 
others  to  prevent  loss,  "straying", 
theft  and  print-switching. 

Each  subscriher  leases  the  code 
press  and  plates  to  mark  the  films 
in  his  library,  and  the  "branding" 
is  good  for  the  life  of  the  print. 
Each  subscriber  to  the  Film  Identi- 
fication Bureau  services  will  have  his 
"brand"  registered  for  quick,  posi- 
tive establishment   of  ownership. 

Every  year  tens  of  thousands  of 
feet  of  valuable  film  are  lost,  mis- 
handled, shipping  labels  removed, 
improperly  mailed,  even  "accidentlv" 
switched.  This  FIB  service  will  quick- 
ly get  the  right  print  back  into  it"s 
owner's  possession,  so  it  can  quicklv 
become  available  for  rental  or  show- 
ing. 

Films  can  be  "branded"  every 
75-100  ft.,  in  addition  to  the  leader, 
so  that  it  will  be  impossible  to  re- 
move the  marking  without  ruining 
the  contents  of  the  film.  Special 
leader  material  with  imprinting  is 
available  from  the  Film  Identifica- 
tion Bureau,  or  subscribers  mav  use 
their  own  leaders  and  tails.  iP 

International  Projectionist         January,  1965 


TAKE   YOUR   PICK 

0/  the  2  means  of  power  conversion  for  projection  lighting. 

^fatf  BI-POWR 

Silicon   Stack    Rectifier 
for  Operation  off  2  Lamps 

■ 

HEAVY 

ROTATING 

EQUIPMENT 

Costs    considerably    less    than    2    separate 
low   priced  single  rectifiers. 

Costly  to   purchase  and   maintain  in   good 
working  order. 

Saves  average  theatre  about  $42  per  month 
on  power  bill. 

Power  bills  average  about  $42  higher  than 
with  the  Bi-Powr. 

Double  protection  against  failure.    You  keep 
operating. 

Failure  means  your  show  is  down. 

Require  no  current-wasting  ballast  rheostats. 

Require  current-wasting  ballast  rheostats. 

Silent. 

Noisy. 

Easy    installation.     Requires    only    one    line 
service. 

Expensive  installation. 

Requires    one-third    to    one-half    less    floor 
space   than   two   properly   installed   conven- 
tional rectifiers. 

Requires    about    twice    the    space    of    other 
means  of  conversion. 

Send  for  literature  on  the  Bi-Powr  today.  There  are 
^0^^.          j2                                          models  for  every  requirement. 

THE  £?&&  ELECTRIC     CORPORATION 

31       CITY    PARK    AVENUE   •TOLEDO,    OHIO    43601   •   PHONE:    (419)   248-3741 

There's    Plenty    for   You   At 

CENTURY! 

.  .  and  from  CENTURY  only 


dramatic,  New  ALL  TRANSISTOR 
sound  systems 


'True    high-fidelity, 
distortion    free. 
Low   irrsta  I  lation   cost, 
minimum   space   needs. 


*  Increased    reliability, 
less  maintenance. 

*No  vacuum   tubes,    no 
photoelectric   cells. 


* 


and  the  only  American-made  70  mm  35 
theatre  projection  systems 


SEE 

YOUR  CENTURY 

DEALER 


for   bigger,    brighter   projection. 


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New  York    19,   N.   Y. 


LOTS  Of  LIGHT 
FOR  SALE 

at  a  Bargain 

with  this  marvel  of 
projection  lamp. 


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LIGHT 


PER  CARBON  DOLLAR 

for  35mm  and  70mm  pro- 
jection. Instant  change  from 
.one  film  width  to  the  other. 


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for  indoor  and  drive-in 
theatrei. 


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THE  MOST  ADVANTAGES 

Low  original  cost.  Greater  op- 
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use  of  standard   20-inch   car- 
toons. 


See  your  Strong  dealer  or 
write  for  literature. 


Electric  Corp. 


31 


City  Park  Ave.,  Toledo,  Ohio  43601 

TELEPHONE:  248-3741 
AREA  CODE:  419 


This  is  the  entrance  to  the  new  Marbro  Drive-In  in  Chattanooga,  owned 
by  the  Martin  Theatre  circuit.  The  illustration  shows  the  changeable  letter 
sign,  screen,  concession  building  and  projection  building  used  in  this  new  installa- 
tion. Ashcraft  products  are  used  in  the  projection  booth.  A  6-foot  high  cedar 
fence  surrounds  the  entire  drive-in. 


Hollywood  Cameraman 
Relates     Movie 
Making  Experiences 

(SPLINTERS  FROM  HOLLY- 
WOOD  TRIPODS  by  Virgil  E. 
Miller,    A.  S.  C,    139    pages, 
$4.00,     An     Exposition-Banner 
Book,    Exposition    Press,    Inc., 
N.  Y.) 
Many    books    have    been    written 
celebrating — or     denigrating — Holly- 
wood  stars.   Virgil   E.   Miller,  prob- 
ably   more    than    any    other    person, 
was     the     man     behind    the   camera 
which  brought  them  immortality.  In 
his   book.     "Splinters    From    Holly- 
wood   Tripods,"    he   focuses    on   his 
fellow  cameramen  and  others  behind- 
the-scenes     colleagues     and     profes- 
sionals. 

Many  of  Miller's  experiences — and 
those  of  his  coworkers — were  filled 
with  danger,  excitement  and  some- 
times hilarity.  How  does  one  go 
about  photographing  a  runaway  loco- 
motive, for  instance,  so  that  it 
smashes  directly  into  the  camera? 
Miller  solved  that  problem  with  a 
mirror  trick — and  without  injury. 

He  was  less  fortunate  when  an- 
other assignment  called  for  him  to 
get  some  close-ups  of  a  group  of 
"tame"  lions.  One  of  the  beasts  sud- 
denly swerved  from  the  path  he  was 
expected  to  run  in  and  charged  be- 
tween Miller's  legs,  sending  him  and 
his  tripod  flying  into  the  air.  The 
cameraman  next  found  himself  rid- 
ing,  for   about  ten   seconds,   on  the 


Here  is  the  installation  of  Super  Core- 
Lite  arc  lamps  and  twelve  phase  sele- 
nium rectifiers  in  the  projection  room 
of  Martin  Theatre's  new  Marbro  Drive- 
in,  which  opened  early  last  October  at 
Chattanooga.  Water  recirculators  are 
used  to  cool  the  solid  silver  positive 
carbon  contacts  with  the  lamps  burn- 
ing 13.6  mm  x  18  high  intensity  car- 
bons at  150  amps.  Screen  width  is  110 
ft.  Illustration  courtesy  C.  S.  Ash- 
craft Mfg.  Co. 


International  Projectionist        January,  1965 


Beyer's  35170  MM  Analysis 

The  following   Drive-In   theatres  are  presently  equipped  with  35/70MM  pro- 
jectors. 


DRIVE.IN 

Midway 

Pacific 

Rancho 

Twin 

Miracle    Mile 

Twin 

Fairgrounds 

Park    Vu 

Fairyland 

North    Sror 

100    Twin 

Maple  Lear 

Thunderbird 

Cranston 

Edgemere 

Whitehorse    Pike 

Cascade 


CITY    and     STATE 
San    Diego,    Calif. 
San    Diego,    Calif. 
San    Diego,    Calif. 
Indianapolis,    Ind. 
Pontiac,  Mich. 
Cincinnati,  Ohio 
Pittsburgh,    Pa. 
Salt    Lake   City,    Utah 
Kansas    City,    Mo. 
Denver,     Colo. 
Minneapolis,    Minn. 
St.    Paul,    Minn. 
Atlanta,    Ga. 
Cranston,    R.     !. 
Shrewsburey.   Mass. 
Lawnside,    N.    J. 
Vancouver,    B.    C. 


lion's  back,  and  only  because  the 
bis  cat  was  probably  as  surprised  as 
Miller  did  Miller  escape  with  nothing 
more  than  a  few  bangs  and  bruises. 

Fast-paced  and  loaded  with  enter- 
taining anecdotes,  this  chronicle  <>f 
the  cinema  greats  and  of  the  "little 
people"  who  helped  make  them  so  is 
fascinating  reading  for  everyone  who 
is  or  ever  has  been  a  movie  fan. 

The  author  was  born  in  1  886  in 
Illinois.  In  1913  he  went  to  Holly- 
wood where  he  established  the  first 
Electrical  Department  for  Universal. 
Subsequentlv  he  worked  as  a  camera- 
man for  every  major  studio  and  be- 
came head  of  both  Paramount's 
Camera  Department  and  Selznick's. 
Besides  filming  more  than  100  fea- 
ture productions,  he  has  traveled 
around  the  world  photographing  (>2 
FitzPatrick    Traveltalks.  iP 


William  B.  Spooner 
Named  to  Manager 
Post  by  Carbons,  Inc. 

In  line  with  their  program  of  ex- 
panding services.  facilities  and 
staff.  Carbons.  Inc..  Boonton.  N.  J., 
has  announced  the  appointment  of 
\\  illiam  B.  Spooner  as  general  man- 
ager of  Carbons.  Inc..  Western  Di- 
vision. 

"This  is  a  progressive  move," 
stated  Frank  Riffle.  Carbons  presi- 
dent, "and  particularlv  a  well  de- 
served promotion  for  Bill,  whose 
long,  rich  background  along  with 
some  12  years  with  us  in  both  sales 
and  engineering  capacities  has  given 
him  a  coast-to-coast  reputation.  His 
highly  specialized  talents  brings  to 
the  field  of  theatre  lighting  and 
projection  exceptional  skill  and  ex- 
perience." 

Mr.  Spooner  is  located  in  the  Los 
Angeles  area  and  will  serve  in  both 
the  carbons  and  XeTRON  divisions 
of  Carbons.  Inc.  iP 


exchanges 


Film    Exchange 
Workers   Win 
Wage   Increase 

Employees  at  film 
throuuh  the  U.S.  received  a  wage  in- 
crease of  $5.50  per  week  effective 
Dec.  1.  Also  presided  in  a  new  con- 
tract announced  bj  the  I.A.T.S.E. 
are  increased  employer  pension  con- 
tributions of  75c  per  week,  bringing 
the  weekly  total  to  $4.50. 

Other    benefits    include: 

\  third  week  of  vacation  after  II 
years  of  service.  In  the  past  it  was 
12  years.  Maximum  serverance  pa\ 
of  15  weeks'  salary  for  employees 
who  have  worked  2!!  vears  or  more. 
The  previous  top  was  14  week's  pnv 
after  2(>  vears.  Columbus  Day  off, 
raising  the  number  of  annual  holi- 
days  to   nine. 

Use-  obtained  was  a  clause  giving 
the  local  business  agent  and  or  an 
International  representative  the  right 
to  visit  a  branch  during  working 
hours  after  notification  to  the  branch 
or    office    manager. 

The  agreement  is  for  two  years. 
Companies  coming  under  it  are 
M-G-M.  Columbia.  Buena  Vista. 
Allied  Artists.  National  Film  Service. 
Bonded  Film  Service  and  National 
Screen  Service.  iP 

Closed   Circuit  TV   for 
RCA  Stockholders  Meet 

The  Radio  Corooration  of  America 
has  announced  that  its  46th  annual 
meeting  of  shareholders  will  be  held 
in  Chicago  on  May  4.  1965.  and 
linked  to  New  York  via  a  closed- 
circuit  two-way  color  television  hook- 
up. 

The  meeting  will  be  held  at  the 
Chicago  Opera  House.  20  North 
Wacker  Drive,  and  joined  to  the  Na- 
tional Broadcasting  Company's  fa- 
mous Peacock  Studio  in  Rockfeller 
Center.  New  York,  via  closed  circuit 
color  TV.  iP 


■3f 

look 

into 

Stewart 

Film  screens 

•  ••the 

choice 

of 
experts 


► 


y 


FILMSCREENS  FOR  SHOWMEN-Stew- 

art  Projection  Screens-the  choice  of 
15  major  exhibitors  at  the  New  York 
World's  Fair! 

ULTRAMATTE-for  commercial  play- 
houses, theatre  TV.  viewing  rooms  ■ 
Seamless  to  46  by  88  feet  ■  Optical 
efficiency  ■  Durable  economy. 
LUXCHROME  50-seamless  rear  pro- 
jection ■  Superior  image  contrast  in 
lighted  rooms. 


FILMSCREENS  also  designed  for  A-V, 
fairs,  trade  shows,  exhibits,  simula- 
tors, plotting  and  display  systems,  and 
special  architectural  requirements. 


STEWART  FILMSCREEN  CORP. 

1161  W.  Sepulveda  Blvd. 
Torrance,  Calif.  90503  (213)  326-1422 

I  want  to  look  further  into  Stewart  Film- 
screens.  Please  send  me  additional 

information  on: 

NAME 

STREET 

CITY STATE 


H 


4 


FILMSCREENS  FOR  FILM  PRODUCERS 
-used  by  CBS  Studio  Center,  Colum- 
bia, Desilu,  Disney,  Fox,  Goldwyn, 
MGM,  Paramount.  Revue,  UPA,  Uni- 
versal, Warners. 

HI-TRANS -Academy  Award  back- 
ground screen-highest  calibre 
production  "tool." 

ULTRAMATTE  gain  white,  and  LUX- 
MATTE  white  matte— front  projection 
screens  ■  Demanded  by  studios  and 
film  labs  for  viewing  during  produc- 
tion, dubbing,  and  scoring. 
T-MATTE  BLUE  —  rear-illuminated 
screen  for  latest  traveling-matte 
process  ■  Practical  for  large  and 
small  sets,  major  productions,  or  TV 
commercials. 


FILMSCREENS  FOR  TV  PRODUCTION 

TV-BLUE-background  screen  ■ 
Favorite  of  networks  ■  Versatile  ■ 
Efficient. 

LUXCHROME  60— neutral  gray  screen 
for  closed-circuit  techniques,  back- 
grounds and  rear  projection  viewing. 


A 


International  Projectionist        January,  1965 


America's 
headquarters 

lor  all 
theatre  equipment 


supplies 


National 

THEATRE  SUPPLY  COMPANY 


Norelco 

projection 
equipment- 
Available  from 
leading   theatre   supply 
dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment    Division 
100    E.  42nd   St.,    New   York    17,   N.Y. 


C.  S.  Ashcraft,  Jr.,  president  of  the  C.  S.  Ashcraft  Mfg.  Co.,  recently 
announced  two  important  promotions.  Mr.  Ashcraft  said  -  "the  promotions  of 
these  two  brilliant  young  engineers  to  administrative  positions  is  a  progressive 
step  in  the  top  management  of  our  company  to  make  secure  the  high  quality 
of  workmanship  of  our  products,  and  a  continuation  of  the  arc  lamp  and  rectifier 
market  our  company  has  enjoyed  for  more  than  40  years  under  the  same  owner- 
ship-management." 

Pictured  above  in  the  Allied  booth  at  Detroit  showing  the  Ashcraft  Super 
Core-Lite  arc  lamp  are  Larry  Orthner,  left,  who  .has  been  promoted  to  manufac- 
turing superintendent,  and  Albert  John,  who  smiles  at  his  new  responsibilities 
as  plant  manager.  Mr.  Orthner  will  be  in  charge  of  all  manufacturing  and 
assembly  operations  as  well  as  quality  control.  Mr.  John  will  be  in  charge  of 
factory  personnel,  material  procurement  and  assistant  to  the  president  on  matters 
pertaining  to  engineering  and  development.    Each  has  nearly  20  years  experience. 


Walter  Beyer's  iP 
Article  Forecasts 
Growth  in  70  mm 


Top  equipment  manufacturing  esti- 
mates now  place  the  number  of  the- 
atres in  the  U.S.  and  Canada  equip- 
ped for  70mm  showing  at  between 
300  and  350.  It  is  estimated  that  by 
the  end  of  1965  there  will  be  as  many 
as  500.  The  number  is  accelerating 
rapidly. 

Of  the  present  total,  some  25  or 
30  of  the  theatres  are  drive-ins.  Of 
the  new  theatres  bein°;  built,  the  ratio 


is  running  about  75-25%  in  favor  of 
hardtops. 

A  good  part  of  the  increase  is  due 
to  the  overall  boom  in  theatre  con- 
struction, rather  than  renovation  of 
old  theatres,  although  this  too  is  oc- 
curing  to  some  degree. 

Installation  of  a  pair  of  35mm  pro- 
jectors costs  somewhere  between 
$3,000  and  $5,000,  For  a  pair  of 
35mm- 70mm  projectors  the  cost  rises 
to  $12,000-$16,000,  a  sizeable  dif- 
ference, but  not  so  when  the  expendi- 
ture for  the  theatre  is  in  terms  of  six 
or  seven  figures. 

Another  reason  for  installation  of 
the  70mm  equipment  lies  in  the  fact 
that  the  major  companies  are  in- 
creasingly using  some  form  of  70mm 
process.  iP 


CARBON  ARCS   .       .   for  finest  Projection   .   . 

JlowiaUte  Ale  GgsiJmhU  /         \ 


Compact  Xenon  Arcs 


division 
•   Brighter  Light  on  Screen 

*  Longer  Burning  per  Carbon 
*  More  Economical 


MTJFiajsf 


products 


CARBONS,   INC. 


eThoss  LAMPHOUSES 

by  Cinemeccanica 


BOONTON,   N.  J. 


cmnsf   POWER  SUPPLIES 

by  Christie 


10 


International  Projectionist        January.  1965 


ing  the  Drive-In 
Projection  Ready  for  Spring 


These  hints  nun  serve  as  a  guide 
in  getting  \<>ur  projection  and  sound 
equipment  ready  for  spring: 


Place  <>ne  or  two  drops  projector 
oil  in  each  idler  oil  hole,  and  look 
the  soundheads  over  carefully  so  as 
not  to  miss  an\  oil  hole  or  oil  cup. 
The  valve  rollers  of  the  upper  and 
lower  magazines  do  not  require  luhii- 
cation. 

5.  MAGAZINE  REEL  SPINDLE? 

Plare  several  drops  of  projector 
oil  in  the  oil  hole  of  each  magazine 
spindle  shaft.  Avoid  spilling  oil  into 
the  friction-disc  clutch  of  Simplex- 
type  lower  magazine  takeups.  i  ["he 
cork  discs  of  Motiograph  takeups 
nia\  be  Boaked  in  oil  when  disassem- 
bled, but  this  is  the  single  exception 
to  the  rule  of  "no  oil  in  takeup  fric- 
tion clutches.'"  i 


C.   ADJUSTMENTS 

1.  UPPER  MAGAZINES 

Make  sure  that  the  upper  magazine 
is  in  correct  alignment  with  the  valve 
rollers  and  mechanism  sprockets  so 
as  to  avoid  twisting,  scraping,  ": 
shearing  the  film.  Spindle  tension 
should  exert  sufficient  "drag"  to  pre- 
vent a  fully  loaded  2000-ft.  reel  from 
spinning  too  freely. 

2.  LOWER  MAGAZINES 

Replace  takeup  belt  if  loose,  worn, 
or  oil-saturated.  I  Loose  or  oily  belN 
slip  and  cause  the  film  to  take  up  in 
an  irregular  manner.  I  It  is  often 
advisable  to  disassemble  the  takeups 
completelv  and  wash  the  parts  in 
lighter  fluid  or  cleaning  naphtha  to 
remove  oil  and  dirt  from  the  friction 
disc  and  clutch  slipping  surfaces,  but 
this  chore  takes  time  and  may  be 
deferred  if  the  takeups  appear  to  be  ir 
good  working  condition. 

Adjust  tension  so  that  a  fully 
loaded  2000-ft.  reel  in  the  lower 
magazine  will  start  turning  of  its  own 
accord  when  the  projector  is  switch- 
ed on.  but  not  so  much  tension  thai 
the  reel  cannot  easily  be  held  back 
from  turning  with  light  pressure  cf 
the  finger. 


3.   FIRE  V\LVE  ROLLERS 

Check  the  rollers  for  free  turning 
and  absence  of  "flats"  which  scratch 
the  picture  and  soundtrack  areas  of 
the  film.  Worn  rollers  should  be  re- 
placed without  delay! 

4.  AUTOM  \TIC  FIRE  SHUTTER 

Turn  the  projector  motor  on.  and 
after  the  machine  has  attained  nor- 
mal running  speed,  turn  it  off.  mean- 
while observing  the  lifting  and  drop- 
ping action  of  the  fire  shutter  be- 
hind the  film  aperture.  The  shutter 
should  drop  before  the  machine  has 
come  to  a  stop.  Remove  obstructions 
which  interfere  with  it-  action,  and 
make  sure  that  the  centrifugal  gov- 
ernor which  controls  its  action  is  free 
from    dirt    and    in    good    condition. 

5.  TRANSMISSION.  MECH  VNISM, 

\M)    SOUND    HEAD    GEARS 

(".heck  all  gears  and  replace  those 
having  chipped  or  otherwise  dam- 
aged teeth.  Check  all  gear  trains  for 
c\cc--ive  backlash,  especially  the 
shutter-driving  gears.  A  small  amount 
of  backlash  is  normally  present  in 
a  projector,  but  excessive  backlash 
in  the  shutter  gears  is  troublesome 
and  requires  extra  blade  width  to 
avoid  travel  ghosts.  This  wastes 
light.  Replace  gears  having  worn 
teeth. 

Racklash  in  the  main  gear  train 
can  be  reduced  by  replacing  the  gear 
shafts  with  oversize  shafts  made  es- 
pecially for  old  machines  with  worn 
bearings. 

6.  FILM  SPROCKETS  AND 
IDLERS 

Examine  all  sprockets  in  mechan- 
isms and  soundheads  for  worn  and 
undercut  teeth.  Undercutting  is  de- 
tected by  noticing  whether  a  knife- 
blade  "clicks'  when  passed  lightly 
over  the  film-contacting  face  of  a 
tooth  from  base  to  tip.  Reverse 
or  replace  worn  sprockets,  deferring 
the  changing  of  sprockets  on  old- 
style  intermittents  until  the  move- 
ments  are   overhauled. 

L  ine  up  idlers  laterally,  if  neces- 
sary, and  adjust  each  for  a  space  of 
2  thicknesses  of  film  between  idler 
and  sprocket  faces.  {Continued) 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSOORFF  CARBON  CORP.    East  McKcesport.  Pa 


Projectionists 

who  like  quality 

always  use  the  best 


itar 

Film    Cement 

Sold  by  Supply  Dealers 

Send  for  FREE  Sample 

ACE  CHEMICAL  CO. 

■  (Division  of  the 

Ac*    Electric   Mfg.    Co.) 

1923    Bay    Road 

Miami  Beach,  Florida 


ASHCRAFT 

CORE-LITE 

SUPER  CINEX 
CINEX  SPECIAL 
PROJECTION  LAMPS 

And 

HIGH  REACTANCE 

MULTI-PHASE 

RECTIFIERS 

World's  Standard  of 
Projection  Excellence 


International  Projectionist        January,  1965 


11 


ALLIED  DISPLAY  —  The  Bristol  Beacons  display  at  the  Allied  convention 
and  conclave  in  Detroit  shows.  (L-R)  H.  J.  Ringold,  president,  Ringold  Theatre 
Equipment  Co.;  F.  M.  Meyers,  president,  Bristol  Electronics,  Inc.,  and  Jack  Arm- 
strong, president  o£  Allied.  The  Bristol  Beacons  manufactured  by  Bristol  Elec- 
tronics, are  self  contained,  portable,  flashing  Neon  signs  designed  for  highway 
approaches  and  drive-in  theatres.  Battery  life  is  approximately  700  hours 
and  with  batteries  weighs  only  12  lbs.  The  signs  are  available  in  12x24  and 
18x24  in.  The  legends  available  for  the  drive-in  operation  are  depicted  in  the 
photograph  and  other  legends  subjects  to  the  requirements  of  the  drive-in  oper- 
ator. The  BRISTOL  BEACONS  are  waterproof  and  weatherproof  and  are  avail- 
able for  "horse  mount"  and  "stanchion  mount"  and  will  rest  on  all  flat  surfaces. 
The  patented  circuitry  and  neon  tubing  are  guaranteed  for  five  years,  except 
for  breakage  of  tubing. 


7.   GATE   TENSION 
Replace   worn     tension     bands 


of 


curved-gate  mechanisms.  Remove  the 
gate  doors  of  straight-gate  mechan- 
isms and  check  the  film  rails  for 
flatness  with  a  steel  straightedge  and 
a  flashlight.  Replace  uneven  rails 
and  tension  pads.  Adjust  tension  of 
the  pads  for  average  film — less  ten- 
sion if  the  film  pulls  hard  through 
the  gate,  more  if  the  picture  jumps 
on  the  screen  by  "overshooting." 
Pads  on  each  side  should  exert  equal 
pressure. 


8.  LATERAL  GUIDE  ROLLERS 
Check  guide-roller  flanges  at  top 
of  each  film  gate  for  ease  of  turning 
and  condition  of  the  flanges.  They 
should  have  flat,  unscored  film-con- 
tacting surfaces.  Replace  scratched 
or  damaged  flanges.  See  that  the  ten- 


sion is  just  sufficient  to  press  the 
laterally  movable  flange  against  the 
edge  of  the  film  rather  lightly.  Ex- 
cessive tension  of  the  coil  spring  may 
"pinch"  the  film  as  it  enters  the  gate 
and  cause  sidesway. 

9.  INTERMITTENT  UNIT 

An  intermittent  movement  should 
run  quietly  when  the  gate  door  or 
tension  shoe  is  open.  Make  absolutely 
certain  that  there  is  no  backlash  in 
the  sprocket  when  in  the  "locked" 
position.  Neither  should  the  move- 
ment, when  turned  by  hand,  feel 
tight. 

If  an  intermittent  runs  tight,  it  will 
wear  out  the  starwheel  and  may 
"freeze"  during  a  show.  If  it  is  too 
loose  or  runs  noisily,  the  picture 
may  jump.  If  the  starwheel  or 
sprocket  are  worn  or  the  shaft  bent, 
the    picture    will    "dance"    or    jiggle 


INTERNATIONAL  PROJECTIONIST 

1645    Hennepin   Ave. 
Minneapolis   34,   Minnesota 


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12 


rapidly.  If  the  movement  leaks  oil 
it  will  soil  the  machine,  interfere 
with  sound  reproduction  if  the  oil 
leaks  into  the  soundhead,  and  also 
soil  the  film.  In  the  event  of  any  of 
these  things,  the  movement  must  be 
overhauled  according  to  the  manu- 
facturer's instructions. 

Worn  starwheels  and  damaged 
cams  must  be  replaced ;  but  since  this 
job  is  critical  and  time-consuming, 
and  requires  that  the  refurbished 
movement  be  "run  in"  for  at  least 
24  hours,  the  projectionist  should 
obtain  spare  movements  from  the 
supply  house  and  send  the  defective 
ones  to  the  repair  shop.  Be  sure  that 
the  intermittent  cover  screws  are 
tight.  Never  loosen  the  cover  screws 
unless  the  movement  is  out  of  the 
projector  for  adjustment!  Correct 
end-play  of  the  sprocket-and-star 
shaft.  See  that  the  intermittent- 
sprocket  shoes  have  enough  tension 
to  hold  the  film  firmly  on  the  face  of 
the  sprockets,  and  that  they  are 
aligned  laterally  so  as  not  to  scrape 
the  sides  of  the  teeth. 

10.  SHUTTER  TIMING 

Turn  the  projector  over  by  hand 
very  slowly;  and  when  2  teeth  of 
the  intermittent  sprocket  have  passed 
a  fixed  reference  point  from  the  "at- 
rest"  position,  set  the  shutter  so  that 
the  blade  is  midway  in  its  covering 
of  the  aperture.  Fine  shutter  adjust- 
ment may  be  made  during  a  projec- 
tion test  with  the  shutter  knob  to 
remove  "flare"  or  slight  traces  of 
travel  ghost  on  the  tops  or  bottoms 
of  bright  objects  in  the  pictures. 

Travel  ghosts  on  both  the  tops 
and  bottoms  of  bright  objects  simul- 
taneously indicate  shutter  blades  that 
are  too  narrow  or  excessive  backlash 
in  the  shutter  gear  train.  Widen  the 
shutter  blades  enough  to  get  rid  of 
the  ghosts. 

11.  SOUNDHEADS 

Check  the  tension  pads  of  old- 
style  sound  gates  for  wear  and  pres- 
sure. The  pressure  rollers  of  rotary- 
stabilizer  soundheads  should  exert 
just  enough  pressure  to  bring  the 
scanning  drum  up  to  speed  within 
3  or  4  seconds  from  the  time  the 
projector  is  switched  on.  Not 
enough  pressure  will  result  in  fluttery 
sound  for  several  seconds  after  each 
changeover:  too  much  pressure  will 
cause  continual  flutter  and   "wows." 

Since  the  pressure  roller  also 
guides  the  film  laterally,  the  lateral 
adjustment  should  not  be  disturbed 
if  neither  perforation  noise  ("motor- 
boating"  )  or  clattering  frameline 
noise  is  heard  in  the  sound.  Other- 
wise  a   chopper   and   buzz-track   test 

International  Projectionist        January.  1965 


Dealers  fjr  the  Strong  Electric  Corp.,  Toledo,  Ohio  in 
attendance  of  the  Allied-Tesma-Teda  convention  and  trade 
show  heard  a  discussion  of  the  market  potential  for  blnvn 
type  arc  projection  lamps  by  Arthur  J.  Hatch,  Strong's 
president. 

Cliff  Callender,  Strong's  sales  manager  of  the  theatre 
equipment  division,  detailed  the  favorable  experience  with 
Xenon  projector  lamps  as  encountered  at  the  World's  Fair. 
A  newly  developed  Xenon  slide  projector  was  also  described. 

Dealers  attending  the  meeting  were:  left  to  right,  seated, 
Vm  Geissler,  Wil-Kin  Inc.,  Atlanta;  Bob  Tankersley,  West- 
ern Service  &  Supply,  Inc.,  Denver,  Colo.;  Bob  Wolfe,  San 
Francisco;  J.  W.  McBurnie,  Charleston  Theatre  Supply  Co., 
Charleston,  W.  Va.;  H.  J.  Ringold,  Ringold  Theatre  Equip- 


ment Co.,  Grand  Rapids,  Mich.;  Carl  White,  Quality  The- 
atre Supply  Co.,  Omaha,  Neb.;  and  Dick  Sutton,  Des  Moines 
The  are  Equipment  Co.,  Des  Moines,  Iowa. 

Left  to  right,  standing,  are  Cliff  Callender,  Strong  Elec- 
tric Corp.,  Toledo,  Ohio;  Arthur  J.  Hatch,  Strong  Electri: 
Corp.,  Toledo,  Ohio;  W.  L.  Waterhouse,  General  Sound  & 
Theatre  Equipment,  Ltd.,  Toronto,  Ont.;  Howie  Forbes, 
Theatre  Equipment  Co.,  Detroit,  Mich.;  John  J.  Kenny, 
Theatre  Equipment  Co.,  Detroit,  Mich.;  Floyd  C.  Pearson, 
General  Sound  &  Theatre  Equipment,  Ltd.,  Toronto,  Ont.; 
Phil  Wicker,  Standard  Theatre  Supply  Co.,  Greensboro, 
N.  C;  Armand  Besse,  Besse  Theatre  Supply  Reg'e.,  Mon- 
treal, Canada;  L.  M.  Wutke,  Pembrex  Theatre  Supply  Corp., 
Los  Angeles;  and  Bill  White,  Strong  Electric  Corp.,  Toledo, 
Ohio. 


i 


film  will  have  to  be  used  t<>  obtain 
correct  lateral  adjustment.  Replace 
exciters   if  the  glass  envelopes   have 

blackened  or  if  the  filaments  are 
Been  to  sag.  Adjust  exciters  up  and 
down  and  sideways  for  maximum 
light  on  the  photocell  cathodes.  Be 
sure  exciters  are  tight  in  their  soc- 
kets— the\  draw  a  heavy  current  at 
low    voltage. 

Adjustment  of  optical-tube  fo  us 
and  azimuth  i  rotational  adjustment) 
is  a  \ei\  critical  matter,  and  is  prop- 
erly left  to  the  service  engineer  v  ho 
will  use  his  frequency  test  films  ;  nd 
output  meters.  In  an  emergercy, 
however,  thread  up  a  film  bavin;  a 
lot  of  high-frequenc)  sound — mnny 
fine  lines  across  the  track.  Draw  ibis 
down  through  the  scanning  beam 
very,  very  slowly  b\  means  of  the 
handwheel,  and  observe  the  flicker- 
ing shadow  patterns  on  the  photo- 
cell cathode.  If  the  shadow  bands 
move  up  on  the  photocell:  the  opti- 
cal tube  is  too  close  to  the  film:  if 
they  move  down,  the  tube  is  loo  far 
away.  Adjust  the  position  of  the  tube 
l  without  disturbing  the  azimuth  I 
so  that  the  shadows  of  the  sound- 
track striations  flicker  uniformly  on 
the  photocell  cathode,  moving  neither 
up   nor  down   as   the   film   is   drawn 

International  Projectionist         Jan 


through     the     scanning     point     very 
slowl) . 

Check  film  tension  in  magnetic 
soundheads  and  demagnetize  all  film- 
contacting  parts  ol  the  entire  projec- 
tor with  a  "degaussing"  electromag- 
net energized  In  60-cycle  AC.  Case- 
hardened  aluminum  alien  sprockets 
offer   no   magnetization    problems. 

The  outputs  of  the  soundheads  on 
both  projectors  should  be  equalized 
in  the-  preamplifiers.  We  must  em- 
phasize once  again  that  sound  ad- 
justments should  be  made  b)  a 
trained  sound-service  engineer,  not 
by  the  operating  projectionist  in  the 
normal  course  of  events. 

D.   OPTICAL  LINEUP  AND 
AND  SPEAKER  CHECK 

1.  OPTICAL  LINEUP 

Test  the  projector  optical  train  for 
alignment.  This  must  be  perfect, 
especially  in  light-hungry  drive-ins. 
Stop  up  the  automatic  fire  shutters 
and  remove  the  lenses  from  the 
mechanisms.  Sight  through  each  ma- 
chine l  using  a  pocket  mirror  if 
necessary  I  or  stretch  a  string  tightly 
from  the  center-hole  of  the  lamp  mir- 
ror to  the  middle  of  the  lens  holder. 

uary.  1965 


I  his  is  the  "optical  axis."  The  cen- 
ters  of  lamp  mirror,  positive  carbon 
holder,  film  aperture,  and  lens  holder 
must  all  be  in  a  straight  line. 

The  lamp  mirrors  should  be  posi- 
tioned at  the  recommended  "working 
distances'"  from  the  film  apertures. 
and  the  lens  holders  must  support 
the  projection  lenses  square  to  the 
apertures,  and  without  looseness  or 
vibration. 

Regulate  arc  current  for  normal 
burning  of  the  carbon  trim  used, 
and  correct  any  abnormal  conditions 
in  the  rectifiers  or  in  the  generators 
and  their  ballast  rheostats. 

After  it  gets  dark  enough  to 
project  light  on  the  screen,  adjust 
the  arc-lamp  mirrors  and  carbon 
burners  for  maximum  light  properly- 
centered.  ( Run  the  projectors,  but 
without  film  for  these  adjustments.) 

2.    MOTORS   AND    PROJECTOR 
SHUTTERS 

Check  the  pickup  times  of  both 
projector  motors.  They  should  be  the 
same,  and  bring  the  machines  up  to 
normal  running  speed  in  2  or  3 
seconds.  Pickup  time  can  be  adjusted 
in  split-phase  induction  motors  by 
means   of  the  starting-winding   rheo- 

13 


National  Theatre  Supply  branch  managers  in  attendance 
at  the  Allied-Tesmi-Teda  convention  and  trade  show  were 
given  an  insight  into  the  sales  potential  for  blown  arc  type 
projection  lamps  by  Arthur  J.  Hat:h,  president  of  the  Strong 
Electric  Corp.,  Toledo,  Ohio.  Hafh  also  described  a  new 
Xenon  type  slide  projector  and  features  of  new  model  spot- 
lights. 

Cliff  Callender,  sales  manager  of  the  Theatre  Equip- 
ment Division  of  Strong  Electric,  related  the  favorable  experi- 
ence with  30  Strong  Xenon  projectors  as  employed  at  the 
World's  Fair. 

Attending  the  meeting  were:  left  to  right,  standing:  Cliff 


Callender,  Strong  Electric  Corp.,  Toledo,  Ohio;  J.  Currie, 
vice  president  National  Theatre  Supply,  Tarrytown;  Harold 
Plumodore,  Strong  Electric;  Pete  Peterson,  Indianapolis, 
Indiana;  Vernon  Barrett,  Minneapolis,  Minn.;  Harry  Russell, 
Pittsburgh,  Pa.;  W.  C.  Hutchins,  Philadelphia,  Pa.;  Arthur 
J.  Hatch,  and  Bill  White,  factory  representatives,  Strong 
Electric.  Seated  are:  Ed  Novak,  Chicago,  Illinois;  F.  F. 
McCleary,  Pittsburgh,  Pa.;  Clarence  Williamson,  Detroit, 
MLh.;  J.  Servies,  vice  president,  Tarrytown;  J.  M.  Fisher, 
Cincinnati,  Ohio;  and  Don  Atkinson,  Baltimore.  Not  shown 
in  the  photo  were  Bud  Mutchler,  Cleveland,  Ohio;  and 
Jerry    George,    Buffalo,    N.    Y. 


stats.  These  are  usually  mourned  on 
the  motors. 

Thread  up  the  projectors  with 
prints  known  to  be  of  good  quality 
and  run  them.  Observe  the  passage 
of  the  film  through  the  machines, 
paying  particular  attention  to  the 
film  loops  and  the  action  of  the  take- 
ups.  If  the  film  runs  smoothly,  strike 
the  arc  and  project  it  upon  the 
screen.  Determine  lens  focus,  center- 
ing of  the  apertures   on  the  screen. 


OUT  OF  PRINT 

MITCHELL  MANUAL 

AVAILABLE! 

The  renowned  "Manual  for 
Practical  Projection"  by  Robert  A. 
Mitchell  is  now  out  of  print,  ac- 
cording to  an  announcement  by  the 
bookseller.  International  Projec- 
tionist. 

Returns  from  our  retail  outlets 
have  been  consolidated  and  we 
now  have  approximately  40  vol- 
umes of  the  Mitchell  Manual  avail- 
able on  a  first-come-first  served 
basis. 

These  books  are  in  brand  new 
condition,  complete  with  dust 
jackets;  have  never  been  used. 
This  rare  publication  can  be  yours 
for  $10  cash  or  money  order. 
Sorry,  no  C.O.D.  or  foreign  orders 
can  be  accepted  at  this  price. 

Sheehan    Booksellers 

P.O.  Box  6174 
Minneapolis,  Minn.    55424 


and  put  finishing  touches  on  shutter 
timing  by  means  of  the  shutter  ad- 
justing knobs  if  travel  ghosts  are 
detected. 

3.  SOUND  QUALITY 

Run  the  films  again  and  switch  on 
the  sound  amplifiers  whether  or  not 
the  in-car  speakers  have  been  in- 
stalled at  this  point.  Listen  to  the 
sound  very  carefully  in  the  monitor 
speaker  and  note  its  quality.  Test 
functioning  of  volume  controls, 
changeover  faders,  etc.  Advise  the 
sound  engineer  of  any  abnormalities 
which  may  be  detected — hums,  static 
noises,  "mushy"  sound,  weak  sound, 
etc. 


4.   IN-CAR  SPEAKERS 

See  that  the  speaker-post  junction 
boxes  are  in  good  condition  and  that 
all  post  lamps  are  operative.  Install 
the  in-car  speakers,  attaching  each 
securely  to  its  junction  box.  Check 
the  performance  of  each  by  playing 
phonograph  records  from  the  projec- 
tion building.  Short  circuits  and 
noisy  or  erratic  ramp  circuits  must 
be  corrected,  and  all  defective  speak- 
ers laid  aside  for  repair.  Further 
checks  and  routine  daily  inspection 
of  all  speakers  are  unnecessary  and 
terribly   time-consuming.  iP 


14 


The  "Tools  for  Freedom"  award  is 
proudly  displayed  by  Leonard  J.  Quar- 
tin,  vice  president  export  sales  and 
Mrs.  Dora  Narzymski,  coordinator  of 
export  sales,  of  The  Kalart  Co.,  Inc., 
Plainville,  Conn.  The  award  was  pre- 
sented to  The  Kalart  Co.,  Inc.  by  the 
Tools  for  Freedom  Foundation  for 
contributing  a  Kalart/Victor  16mm 
sound  projector,  which  will  be  used  in 
the  International  Center  for  Advanced 
Technical  and  Vocational  training, 
Turin,  Italy. 

International  Projectionist        Januarys  1965 


basic 
mathematics 

by  NORMAN  N.  CBOWHUIST 


VOLUMES 
1  through  4 
COMPLETE 


PRACTICAL 
METHOD 


J] 


LEARNING 


X 

• 

mmm 

• 

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■<„ 

2 

j-~ 

•  • 

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FtOM(0IMTM( 

rmoutti  (jucuha 

I  HOWIN 

urotmua 
to  mathematics 

A»fR  USB 


JT^  RIDER 


— 


I 


— 


BASIC   MATHEMATICS 

fay  Norman  H.  Crouhurst 

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If  you  aren't  using  National'  projector 
carbons  you  re  missing  two  bonuses: 

1.  Bonus  brilliance 

2.  Bonus  burning  time 


The  longer  your  throw  and  the  wider  your  screen,  the 
more  you  need  the  two  big  bonuses  that  go  with 
"National"  projector  carbons! 

So  why  short-change  yourself?  Why  settle  for  less 
when  you  can  fill  your  screen  with  today's  brightest 
light  and  get  longer  screening  time  per  inch  of  car- 
bon burned? 

Specify  "National"— and  you  specify  the  projector 
carbons  that  have  been  the  standard  for  quality 
screen  illumination  since  1917. 

"National"  is  a  registered  trade-mark  of 

UNION  CARBIDE  CORPORATION 

CARBON  PRODUCTS  DIVISION 

270  Park  Avenue  •  New  York,  N.  Y.  10017 

In  Canada:  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL 


To  assure  a  professional  touch  to  stage  and 
I  screen  presentations,  Louisiana  State  University, 
at  Baton  Rouge,  La.,  has  recently  installed  the 
most  modern  projection  room  equipment.  Shown 
is  James  E.  Mire,  projectionist,  operating  the 
carbon  arc  slide  projector  for  showing  big,  brilliant 
pictures  on  the  screen.   In  the  rear  is  also  seen  a 

.powerful  Strong  Electric  Super  Trouper  carbon  arc 
follow  spotlight  for  abundant  illumination  of  var- 
ious types  of  live  presentations  on  the  auditorium 

ijsfrage. 


FEBRUARY       ssajSuoo  jo  Araiqn 


VOLUME  40 
40c  A  COPY 


1965 
NUMBER  2 
<**®b>     $3.00  A  YEAR 


nvestment  Opportunity 


The  tools  this  young  apprentice  is  learning  to  make  will 
one  day  be  used  to  turn  out  your  company's  products. 

A  great  investment  in  time,  money,  effort  and  faith 
will  have  to  go  into  making  him  productive.  Every  one 
of  us  has  a  stake  in  his  success — and  every  one  of  us 
must  invest  something — for  on  the  developing  skills  of 
America's  young  tool-makers  depends  the  continued 
functioning  of  all  industries. 

You  can  protect  your  investment  by  joining  with  other 
leading  American  businessmen  to  promote  the  Treas- 
ury's Payroll  Savings  Plan  for  U.S.  Savings  Bonds.  The 
Treasury  Department's  Plan  helps  safeguard  the  individ- 


ual liberties,  and  encourages  the  industrious  and  respon- 
sible attitudes  so  necessary  for  the  growth  of  our  econ- 
omy and  the  well-being  of  our  society. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll — 
you  are  investing  in  the  next  generation  of  America's 
skilled  craftsmen  and  technicians.  You  are  investing  in 
our  future.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  to  the 
Treasury  Department,  United  States  Savings  Bonds 
Division,  Washington,  D.C.,  20226. 


ifr^ 


-     In  your  plant... promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS 

The  U.  S.  Go\en.;.  ent  does  not  pay  for  this  advertisement.  The  Treasury  Department  thanks,  for  their  patriotism,  The  Advertising  Council  and  this  magazine. 


INTERNATIONAL 

PROJECTIONIST 


Volume  40 


Feb.  1965 


No.  2 


FRANK   W.   COOLEY,    JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment   Editor 


RAY   GALLO  ASSOCIATES 

National    Advertising    Representatives 

545    Fifth   Avenue.    New   York,    N.  Y.,    10017 

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IN  THIS  ISSUE 

Part  III  —  70mm  Projection  4 

By  Walter   Beyer 

New    Mitchell    System  10 

New    Leader    Style  1  1 

Morris    J.     Rotker  14 

News    Notes  —  Technical    Hints  —  Miscellaneous    Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
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International  Projectionist        February,  1965 


■""""""""— ■"•- ■ '— ■- 


Volume  40 


-— -, 


INTERNATIONAL  PROJECTIONIST 


February,  1965 


Number  2 


Part  III 


Technical  Report  on  the 
70  mm  Sound  System 


In  order  to  assist  you  in  the  installation  of  70mm 
projectors,  as  well  as  screens,  screen  masking,  and  sound 
considerations,  the  engineering  department  of  Universal- 
International  has  compiled  technical  information  data. 

A    feature   is   the   screen   chart    which    will   facilitate 


By  Walter  Beyer 

Head  of  Engineering  Research  Department 
Universal  City  Studios 

screen  size,  all  computed  for  the  new  70mm  projector 
aperture.  This  is  the  first  chart  of  its  kind  ever  com- 
puted for  70mm  projection.  A  selection  of  easy-to-use 
formulas  has  also  been  provided  in  case  your  theatre 
requires  deviation  from  the  screen  chart.        (Figure  1) 


the    sel 

ection 

of 

proper 

focal 

leng 

th    lenses    for    your                  A   drawing 

showing  the 

recommended 

aperture  for  j 

SCREEN  CHART  FOR  70  MM  PROJECTION 

LENS  FOCAL  LENGTH  IN  MM  AND  INCHES 

66  MM 

70  MM 

75  MM 

80  MM 

85  MM 

90  MM           95  MM               f                4'/4"               41/4" 

43/4- 

5- 

5>/«- 

5W 

5%" 

6" 

- 

25 

34.0 

36.0 

38.6 

41.2 

43.7 

46.3            48.9            52.3            55.5            58.8 

62.1 

65.3 

68.6 

71.9 

75.1 

78.4 

30 

40.7 

43.2 

46.3 

49.4 

52.5 

55.6             58.7             62.7             66.6             70.6 

74.5 

78.4 

82.3 

86.3 

90.2 

94.1 

CONVERSION 

35 
40 

47.6 
54.4 

50.4 
57.6 

54.0 
61.7 

57.6 
65.9 

61.2 
70.0 

64.8            68.4             73.2             77.7             82.3 
74.1             78.2             83.6             88.7             94.1 

87.0 
993 

915 
104.5 

96.1 
1098 

100.6 
115.0 

105.2 
120.2 

109.8 
125.5 

TABLE 
MM  TO  INCHES 

66          2.60 

h- 

45 

61.2 

64.8 

69.4 

74.1 

87.7 

83.3            88.0            94.1            99.9          105.9 

111.7 

117.6 

123.5 

129.4 

135.3 

141.1 

70          2.76 

bj 

50 

68.0 

72.0 

77.2 

82.3 

87.5 

92.6             97.8           104.5           111.1           117.6 

124.2 

130.7 

132X1 

143.8 

150.3 

156.8 

75           2.95 

u. 

z 

55 
60 

74.7 
81.5 

79.2 
86.4 

84.9 
92.6 

90.6 
98.8 

96.2 
104.9 

101.9           107.5           115.0           122.2           129.4 
111.1          117.3          125.5          133.3          141.1 

136.6 
149.0 

143.8 
156.8 

150.9 
164.7 

158.1 
172.5 

165.3 
180.3 

172.5 
188.2 

80           3.15 
85           3.35 
90         3.54 

1- 
a 

* 

65 

88.3 

93.6 

100.3 

107.0 

113.7 

120.4           127.0           135.9           144.4           152.9 

161.4 

1699 

178.4 

186.9 

195.4 

2035 

95          3.74 

70 

95.1 

100.8 

108.0 

115.3 

122.4 

129.6          136.9          146.4          155.5          164.7 

173.8 

183.0 

192.1 

201.3 

210.4 

219.6 

UJ 

75 

102.0 

108.0 

115.7 

123.5 

131.2 

138.9          146.6          156.8          166.6          176.4 

186.2 

196.0 

205.8 

215.6 

225.4 

2352 

IE 

3 

80 

108.7 

115.2 

123.4 

131.7 

140.0 

148.2           156.4           176.3           177.7           188.2 

198.6 

209.1 

219.6 

230.0 

240.5 

2505 

O 

85 

115.5 

122.5 

131.2 

140.0 

148.7 

157.4           166.2           177.7           188.8           2O0.0 

211.1 

222.2 

2333 

244.4 

255.5 

266.6 

0. 

90 

122.3 

129.7 

1389 

148.2 

157.4 

166.7           176.0           188.2           199.9           211.7 

223.5 

235.2 

247.0 

258.8 

270.5 

2823 

95 

129.1 

136.9 

146.6 

156.4 

166.2 

175.9           185.7           198.6           211.1           223.5 

235.9 

248.3 

260.7 

273.1 

285.5 

298.0 

100 

135.9 

144.0 

154.3 

164.7 

174.9 

185.2           195.5           209.1           222.2           235.2 

248.3 

261.4 

274.4 

287.5 

300.6 

313.6 

105 

142.7 

151.3 

162.0 

172.9 

183.6 

194.5           205.3           219.6           233.3           247.0 

260.7 

274.4 

288.2 

301.9 

315.6 

329.3 

110 

149.5 

158.5 

169.7 

181.1 

192.4 

203.7           215.0           230.0           244.4           258.8 

273.1 

287.5 

301.9 

316.3 

330.6 

345.0 

120 

163.0 

172.9 

185.2 

197.6 

209.9 

222.2           234.6           254.9           266.6           283.3 

298.0 

313.6 

329.3 

345.0 

360.7 

376.4 

. 

FIGURES  IN  THE  ABOVE  TABLE  SHOW  PROJECTION  DISTANCE  IN  FEET  FROM  PROJECTOR  APERTURE  TO  CENTER  OF  SCREEN. 

Width: 

25 

30            35 

40 

45 

50 

55            60            65             70            75             80 

85 

90 

95           100 

105 

110 

120 

Height: 

11.3 

13.6         15.8         18.1 

20.4 

22.6 

24.9          27.1          29.4          31.7          33.9          36.2 

38.5 

40.7 

43.0         45.2 

47.5 

49.8 

54.3 

' 

Figure   1 


International  Projectionist 


Feb 


ruarv. 


1965 


TRAVEL 


0.023 

TRACK  0.060 
0.050 
TRACK  0.060 

0.053- 


HEAD 

#1 


-•Jo.no  kO.206— 1» 

o.o5o  ■^•|T|0050iTr  ° 

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h~  0.023 

TRACK  0.060 
0.050 
TRACK  0.060 

-H    K-0.053 


HEAD 


MAGNETIC  COATING  AND  TRACK  PLACEMENT  DIMENSIONS  FOR  70  MM  RELEASE  FILM 


Figure    2 


•70mm  projection  has  been  included,  as  well  as  a  draw- 
ing showing  tlic  sound  track  placement  for  tin-  -i\  mag- 
retic  tracks  i  Figure  2).  Sound  track,  speaker  arrange- 
ner.is.   and   theatre  specifications  are  also  covered. 

The    Picture 

The  screen  chart  on  the  opposite  page  is  especially 
slculated  for  the  70mm  projector  aperture  of  1.913- 
.  0.868  inches.      The  aspect  ratio  is  2.21  to  1.  This  aper- 


ture was  established  by  Todd  AO  and  is  now  a  re- 
<  ommendcd    SMI*  I  L   standard. 

Ill  is  table  shows  pic  lure  widths  in  the  left  and  focal 
length  of  lenses  in  the  top  column.  The  figures  in  the 
table  are  distances  from  projector  aperture  to  center 
screen  in  feet. 

Figure  3  below   lists  picture  height  to  corresponding 

(Continued) 


GUIDED 
EDGE 


BASIC  DIMENSIONS  RELATED  TO  SIZE  AND  PLACEMENT 
OF  THE  RECOMMENDED  70MM  PROJECTOR  APERTURE 

Figure   3 


\TI 

L 


Iernational  Projectionist 


Februarv.  1965 


PERFORATION 
APERTURE 


Focal  length 


1.913  x  throw 


Throw 


picture  width 

focal  length  x  picture  width 
1.913 


Picture  width  = 


1.913  x  throw 
focal  length 


Aspect  ratio  = 


Width 
Height 


Height  of  Picture  = 


Width 
Aspect  ratio 


picture  width  based   on   a  2.21   to   1   aspect  ratio. 

The  above  formulas  and  comparisons  is  in  an  addition- 
al small  table  to  relate  corresponding  focal  length  in  milli- 
meters to  dimensions  in  inches — just  for  general  orienta- 
tion. Even  though  the  tables  are  self-explanatory,  for 
the  calculation  of  specific  installations,  with  given  lenses, 
screen  sizes,  and  throw,  the  usual  formulas  can  be  ap- 
plied using  the  dimensions  of  the  70mm  aperture. 

The  focal  length  lenses  listed  in  the  top  column 
are  all  lenses  especially  designed  to  cover  the  70mm 
aperture,  and  only  such  lenses  should  be  used.  Do  not 
project  70mm  prints  with  lenses  only  suited  for  35mm 
apertures— even  if  they  have  a  4"  O.D.,  and  do  not 
project  70mm  prints  by  using  supplementary  lenses, 
lens  attachments,  or  focal  length  converting  devices. 

A  70mm  projector  alignment  film  with  a  test  chart 
as  shown  in  Figure  4  should  be  used  to  check  lens  per- 
formance for  cleanest  and  sharpest  picture  projection. 
This  test  film  is  available  through  supply  houses  and 
shipped  with  instruction  sheet  for  its  use.  It  can  also  be 
ordered  from  SMPTE,  55  West  42nd  Street.  New  York 
36,  N.  Y. 

The  Sound   System 

The  sound  system  for  six-channel  sound  reproduction, 
as  established  for  70mm  release  prints,  is  generally 
handled  by  service  organizations.  We  think,  however, 
that  it  will  be  appreciated  to  publish  the  engineering 
facts  on  the  six  magnetic  sound  tracks  on  70mm  re- 
lease film. 

As  can  be  seen  in  Figure  2,  the  tracks  are  num- 
bered from  1  to  6 — going  from  left  to  right  if  the  film  is 
placed  with  the  magnetic  coating  up  and  the  emulsion 
down. 

The  tracks  are  used  as  follows:  (with  the  listener 
facing  the  screen). 

Track  1   for  the  left  speaker — Track  2  for  the  left 


center  speaker — Track  3  for  the  center  stage  speaker — 
Track  4  for  the  right  center  speaker — Track  5  for  the 
light  speaker — Track  6  for  the  surround  or  auditorium 
speakers. 

The  recording  and  reproducing  speed  is  24  frames 
(5  perforations)  per  second — representing  exactly  120 
perforations  per  second  or  112.2  feet  per  minute. 

The  center  of  the  picture  precedes  the  correspond- 
ing sound  by  a  distance  of  24  five-perforation  frames. 

It  should  again  be  noted  that  the  above  specifica- 
tions have  been  established  by  TODD-AO  and  are  in 
accordance  with  their  presently  used  process.  In  line 
with  the  specifications  for  70mm  composite  film  sound 
as  outlined  by  the  TODD-AO  Corp.,  the  theatre  sound 
equipment  should  fulfill  the  following  specifications: 

1.  The  frequency  response  as  measured  on  theatre 
equipment  should  be 

50-8,000  cycles  flat  within  plus  or  minus  V2  db. 
40-12,000  cycles  flat  within  plus  or  minus  1.5  db. 

2.  Cross  talk  between  channel  .  .  .  minus  40  db.  at 
1,000  cycles. 

3.  Signal  to  noise  ...  55  db. 

4.  Wow  and/or  flutter  not  to  exceed  0.2  of  1%  in 
^  band  width  between  2-200  cycles. 

5.  Preamplifier  distortion  not  to  exceed  1%  when 
operated  at  a  level  of  12  db.  above  the  level  from  mag- 
netic  film   recorded   at   3%   distortion. 

6.  Power  amplifier  distortion  not  to  exceed  2% 
at  rated  output  of  the  amplifier  between  50  and  12,000 
cycles. 

7.  Speakers  and  power  amplifiers  should  be  of  such 
power  rating  that  any  single  track  can  properly  fill 
the   auditorium's   acoustical   needs. 

All  necessary  test  films  for  checking  6-channel  mag- 
netic sound  installations,  as  specified  above,  are  avail- 
able through  the  TODD-AO  Corp.,  West  Coast  Division 
1021    N.    Seward   St.,    Hollywood,   Calif.  IP 


0.880  0.86O 


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'       0.870  0.890    2.050 


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♦ 


MOTION 
RESEARCH 


PICTURE 
COUNCIL 


HOLLYWOOD,  CALIF. 


1 imiiiii minim mini 111111111111111111111  iiiiii 


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70MM-  PROJECTOR 


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1.920J 

1.940 

111     2.020J 

0-850    o.870  o.890   2.040^ 


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70MM  TEST  FILM  CHART 


International  Projectionist        February,  1969 


TEDA  Sets 
Extensive  Meeting 
Program 

The  Theatre  Equipment  Dealers 
Assn.  i  TEDA  i  has  arranged  an 
intensive  program  for  its  meetings 
March  21-21  at  Del  Webb's  Towne 
House.  Phoenix.  Ariz.  The  meetings 
orginallv  had  been  scheduled  for 
March   11-17  in  the  same  <it\. 

These  meetings  will  amount  to  a 
national  convention  for  TEDA  and 
during  the  four  da)  sessions  the) 
have  scheduled  two  board  of  direc- 
tors meetings  and  their  annual  elec- 
tion of  officers.  TESM  \  also  will 
conduct  its  annual  membership 
meeting  and  a  board  of  directors 
meeting    during    the   sessions. 

TEDA  has  invited  theatre  equip- 
ment dealers  who  are  not  members 
of  TEDA  to  be  present  and  has  ex- 
tended a  special  invitation  to  mem- 
bers of  Theatre  Equipment  and  Sup- 
pi)  Manufacturer-  \>-n.  (TESMA) 
to    participate. 

Phil  Wicker,  president  of  TEDA, 
has  said  that  the  first  three  days 
of  the  meetings  are  to  be  a  working 
forum,  during  which  manufacturers 
have  been  invited  to  present  in  detail 
to  the  dealers  whatever  new  or 
modified  equipment  they  now  have 
ready  for  sale  to  theatre-  and 
auditoriums. 

Two  manufacturers.  Century  I'm 
jector  Corp..  and  Strong  Electric 
Corp.  have  arranged  special  meet- 
ings with  their  own  dealers,  and  two 
other  manufacturers.  Edw.  H.  W  elk. 
Inc.  and  C.  S.  Ashcraft  Manufactur- 
ing Corp..  have  sponsored  luncheons 
during    the    meetings. 

The  Carbon  Products  Division  of 
Union  Carbide  Corp.  I  National 
Carbons  I  will  entertain  at  a  cocktail 
party  on  opening  evening  which 
will  be  followed  immediately  by  a 
dinner  and  entertainment  sponsored 
by  TESMA.  iP 

Circuit  Plans  60-75 
New  Houses  by  1970 

HOLLYWOOD  —  National  Gen- 
eral Corp.  plans  a  major  new  subur- 
ban theatre  building  program,  it  was 
stated  by  NGC  president  Eugene  V. 
Klein  at  the  company's  annual  meet- 
ing of  stockholders  here. 

Speaking  in  the  Fox  Wilshire 
Theatre.  Klein  said  National  General 
plans  over  the  next  five  years  to 
build  60  to  75  new  theatres,  follow- 
ing the  "population  trend"  and 
locating  them  in  large  new  shopping 
centers  when  possible.  iP 

International  Projectionist        Februarv.  1965 


TAKE   YOUR   PICK 

of  the  2  means  of  power  conversion  for  projection  lighting. 

^*Sf  BI-POWR 

Silicon   Stack    Rectifier 
for  Operation  off  2  Lamps 

HEAVY 

ROYATING 

EQUIPMENT 

Costs    considerably    less    than    2    separate 
low   priced  single  rectifiers. 

Costly  to   purchase   and   maintain    in    good 
working  order. 

Saves  average  theatre  about  $42  per  month 
on  power  bill. 

Power  bills  average  about  $42  higher  than 
with  the  Bi-Powr. 

Double  protection  against  failure.    You  keep 
operating. 

Failure  means  your  show  is  down. 

Require  no  current-wasting  ballast  rheostats. 

Require  current-wasting  ballast  rheostats. 

Silent. 

Noisy. 

Easy    installation.     Requires    only    one    line 
service. 

Expensive  installation. 

Requires    ono-lhird    to    one-half    less    floor 
space   than   two   properly   installed   conven- 
tional rectifiers. 

Requires    about    twice    the    space    of    other 
means  of  conversion. 

Send  for  literature  on  the  Bi-Powr  today.  There  are 
^00i^^.          jf                                          models  for  every  requirement* 

THE  g~P°&  ELECTRIC     CORPORATION 

31       CITY    PARK    AVENUE   •TOLEDO,    OHIO    43601   •   PHONE:    (419)   248-3741 

There's    Plenty    for   You   At 

CENTURY! 

.  .  and  from  CENTURY  only 


dramatic,  New  ALL  TRANSISTOR 
sound  systems 


*True   high-fidelity, 

distortion    free. 
*l_ow   irrsta  I  lation   cost, 

minimum   space   needs. 


*  Increased    reliability, 
less  maintenance. 

*No   vacuum   tubes,   no 
photoelectric   cells. 


* 


and  the  only  American-made  70  mm  35 
theatre  projection  systems 


SEE 

YOUR  CENTURY 

DEALER 


...  for  bigger,   brighter   projection. 


CENTURY  PROJECTOR  CORP. 


New  York    19,   N.  Y. 


International  Projectionist        February.  1965 


Now. 

Are  you 
willing  to  risk 
it  all  on  less 
than  Eastman 
films  ? 


More  than  anything  else  except  creative 
skill,  film  is  crucial  to  quality  in  movie- 
making. Isn't  it  a  false  economy,  then,  to 
attempt  to  save  a  fraction  of  a  cent  per 
foot  on  film  stock  which  has  less  than 
Eastman  quality?  And  doesn't  poor  film 
quality  jeopardize  your  entire  invest- 
ment, even  make  talent  look  bad? 

But  total  picture  quality  doesn't  demand 
that  you  merely  shoot  on  the  best  nega- 
tive. There's  also  the  print  stock  to 
consider . . .  and  some  don't.  It's  a  great 
mistake— both  from  your  point  of  view 
and  that  of  your  audience — to  print  on 
anything  less  than  EASTMAN  Film. 

Look  at  it  this  way.  Film— both  nega- 
tive and  print  stock — must  have  consistent 
speed,  uniform  processing  characteristics, 
dimensional  stability,  precision  perfora- 
tions and  uniform  slit  edges.  In  the  theater 
it  must  possess  a  long  wear-tear  capa- 
bility for  precision  in  projection  and  in 
order  to  hold  down  costly  print  reorders. 
EASTMAN  Films  have  all  these  qualities 
because  Eastman's  engineering  and  tech- 
nical facilities  are  unique.  Furthermore, 
Eastman's  film  specialists  are  always  at 
hand  to  help  you  maximize  production 
efficiency. 

Everything  considered,  doesn't  it  make 
good  sense  to  use  EASTMAN  all  the  way  ? 

Motion  Picture  Products  Sales  Department 

EASTMAN  KODAK  COMPANY 

Rochester,  N.  Y.  New  York,  N.  Y. 

Chicago,  111.  Hollywood,  Calif. 

■  ■ ■ ■ ■ it • ■ ■ • ■ ■ ••• • • •■ 1 1 • ■  •  • 


EASTMAN  FILM 


tiniiiiiiiiiiiie  itiii»g  II 


International  Projectionist         February.  1965 


m 


Introducing  the  1965 


Is  there  really  a  new  Simplex  X-L  for  1965? 

Yes  and  No.  Yes,  because  the  X-L  mechan- 
ism never  stops  being  refined  and  improved  to 
meet  every  new  advance  in  motion  picture  pro- 
jection. No,  in  the  sense  that  the  basic  com- 
ponents that  have  performed  so  perfectly  for 
so  many  years  are  still  the  heart  of  the  X-L. 

Fact  is,  there's  a  long  list  of  advanced  engi- 
neering features  on  the  X-L  that  are  just  not 
available  on  any  other  projector.  But  it's  suffi- 
cient to  say  that  the  X-L  is  the  pride  of  the 
world's  most  experienced  manufacturer  of  pro- 
fessional motion  picture  projectors.  And  it's 
the  overwhelming  choice  of  projectionists 
everywhere. 

Get  all  the  facts  about  the  '65  X-L.  There's 
nothing  newer,  or  better  on  the  market. 

■^  National 


S$g? 


THEATRE   SUPPLY  COMPANY 


Subsidiary  of  General  Precision  Equipment  Corporation 


HOME  OFFICE,  50  PROSPECT  AVENUE,  TARRYTOWN   NEW  YORK 
BRANCHES  FROM  COAST  TO  COAST   •   PHONE  MEDFORD  1-6200 


KALART  RECEIVES  AWARD  —  President  Johnson's  "E"  Award  for 
excellence  in  exporting  was  awarded  to  The  Klart  Co.,  Inc.  by  John  H.  Royer, 
deputy  to  the  under  secretary  of  commerce,  U.  S.  Department  of  Commerce. 
Receiving  the  award  for  Kdart  was  Morris  Schwartz,  president  and  Leonard  J. 
Quartin,  executive  vice  president.  Over  50  national,  state  and  local  business  and 
civic  leaders  attended  the  Award  luncheon.  Left  to  right  are  Hy  Schwartz, 
president,  the  Victor  Animatograph  Corp.,  Morris  Schwartz,  Mr.  Royer,  Deputy 
to  the  Under  Secretary  of  Commerce,  Mr.  Quartin,  and  James  E.  Kelley,  director 
Hartford  field  office,  USDC.  Following  the  luncheon  a  tour  of  the  manufacturing 
departments  of  the  company  was  held.  Highlights  of  the  tour  was  the 
inspection  of  the  Kalart  Victor  Series  70  16mm  sound  projector  assembly  depart- 
ment and  35mm  filmstrip  and  slide  assembly. 

Mitchell  Camera  Corp. 
Premieres  'System  35' 

The  Beverly  Hilton  Hotel  in  Bev- 
erly Hills.  Calif,  became  a  Holly- 
wood sound-stage  for  one  day.  when 
Mitchell  Camera  Corp.  premiered  its 
new  "System  35"  to  more  than  1000 
members  of  the  motion  picture  and 
television    industry. 

"System  35,"  a  building-block 
system  that  includes  the  Mark  II 
reflex  35mm  camera,  an  "electronic 
door"  to  the  camera's  sound  "blimp" 
that  provides  a  high-resolution 
closed-circuit  TV  picture  of  exactly 
what  the  camera  lens  sees,  and  a 
small,  semi-portable  videotape  re- 
corder for  making  an  instantaneous 
transcript  of  the  film  shooting,  was 
shown  for  the  first  time  to  studio 
and  network  executives,  producers, 
directors,  cinematographers,  and 
camera  operators. 

The  ballroom  was  transformed 
into  the  famous  mansion  and  ter- 
race of  "Philadelphia  Story"  in  a 
fully  lighted  and  dressed  set.  Two 
young  Hollywood  professionals. 
Jonathan  Bolt  and  Sybil  Collier,  per- 


VIDEO  VIEW-FINDER— Camera 
director  and  operator  both  view  dra- 
matic action  on  TV  monitor  in  Mit- 
chell Camera's  "System  35"  develop- 
ment, which  films  in  35mm  and 
videotape  simultaneously  and  "broad- 
casts" a  live  closed  circuit  TV  picture 
to  monitors  on  the  camera  and  around 
the  set. 


International  Projectionist         February.  1965 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport.  Pa 


Projectionists 

who  like  quality 

always  use  the  best 


tar 

Film    Cement 

Sold  by  Supply  Dealers 

Send  for  FREE  Sample 

ACE  CHEMICAL  CO. 

(Division  of  the 
Ace    Electric   Mfg.    Co.) 

1923    Bay    Rood 
Miomi  Beach,  Florida 


flSHCRAfT 

SUPER  CORE-LITE 
CORE-LITE 

CINEX  SPECIAL 

35/70 

PROJECTION  LAMPS 

AND  HIGH -REACTANCE 

MULTI -PHASE  RECTIFIERS 

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of 

Projection  Excellence 


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formed  scenes  from  the  play  for 
System  35  to  film  and  tape  simul- 
taneously. The  audience,  spread 
from  set-side  to  the  far  corners  of 
the  ballroom,  followed  the  action 
both  directly  as  they  watched  it 
"live.''  and  remotely  on  a  series  of 
television  monitors  placed  around  the 
room.  They  could  hear  directions  to 
the  actors,  and  see  immediate  video- 
tape re-runs  of  rehearsal  sequences. 

B.  G.  Tubbs.  president  of  Mitchell, 
told  the  audience  that  "this  system 
is  one  of  the  highlight  develop- 
ments of  Mitchell's  45-year  history 
as  the  world's  major  producer  of 
cinematographic  systems."  He  also 
noted  that  "System  35  brings  the 
cinematographic  art  'u.D-to-date'  b\ 
incorporating  advanced  solid-state 
electronic  techniques  to  provide  a 
completely  new  creative  tool  to  the 
film-maker." 

Tubbs  reported  that  best  estimates 
indicate  the  system  can  reduce  usual 
sound-stage  costs  by  as  much  as  2^' < 
by  "insuring"  that  the  director 
knows  exactl)  what  the  film  has  re- 
corded, in  rehearsal  time-saving,  and 
in  providing  a  preview  look  at  pic- 
ture composition  and  content.      iP 

New  Leader  Set  by 
SMPTE  Standards 

NEW  YORK  —  A  new  leader  for 
all  motion-picture  film  release  prints 
has  been  announced  by  the  Society 
of  Motion  Picture  and  Television 
Engineers.  Called  the  SMPTE  Uni- 
versal Leader,  it  replaces  the  old 
Academy  and  Society  leaders  which 
are  no  longer  suitable  for  modern 
film   practices. 

Though  the  SMPTE  Universal 
Leader  includes  many  new  features, 
the  major  aspects  of  the  old  leaders 
were  retained  to  permit  established 
film  laboratory  and  theatre  practices 
to  be  followed  while  meeting  the  new 
requirements  of  television  trans- 
mission. 

Changes  incorporated  into  the 
I  niversal    Leader    include: 

i  1  l  Timing  or  count-down  in 
seconds  at  24-frame  second  running 
instead  of  the  present  16-frame. 
"footage"  count  down; 

(2)  A  continuously  moving  clock- 
type  wedge  to  denote  passage  of 
time: 

I  3 )  Reduction  of  flashing  to  pre- 
vent instability  in  automatic  telecine 
projection; 

(4)  Use  of  slightly  redesigned 
35mm  and  16mm  sound  cues  in  the 
anticipation  of  international  accep- 
tance; 

(  5  )  Provision  of  space  in  the  syn- 
chronizing section  to  be  replaced  by 
(Continued) 


Get  all  the  facts!  Ask  your  equip- 
ment dealer  for  the  new  1964 
Kollmorgen  Projection  Lens  Cata- 
log or  write  us  direct. 

i      KOLLMORGEKf 

CORPORATION 

NORTHAMPTON,   MASSACHUSETTS 


International  Projectionist         February,  1965 


11 


CuMr  OKI  ABLE  — •  It  is  a  spacious,  "comfortably  equipped"  projection  room 
in  which  the  modern  projection  lighting  equipment  and  rectifiers  have  been 
installed  at  the  new  Martin  Cinerama  Theatre,  St.  Louis,  Mo.  Shown  is  Paul 
Danesh,  manager,  left,  and  Terry  Savage,  chief  projectionist,  with  the  new 
National  Ventarc  blown  arc  projection  lamps  and  Strong  rectifiers,  such  as 
are  being  installed  everywhere  for  the  new  Cinerama  projection  technique.  The 
equipment  was  furnished  by  National  Theatre  Supply.  Literature  on  this  equip- 
ment will  be  sent  on  request  to  the  Strong  Electric  Corp.,  31  City  Park  Avenue, 
Toledo,  Ohio  43601. 


a  similar  number  of  Control  Frames 
to  provide  technical  checking  frames 
or  duplicated  tests  of  the  black-and- 
white  or  color  picture  frames. 

(6)  Inclusion  of  35mm  and  70mm 
magnetic    cue    positions: 

(  7 )  Provision  of  three  successive 
frames,  marked  Head,  0,  and  Picture, 
to  guide  the  operator  printer  when 
threading    in    the    dark    room; 

(8)  Retention  of  the  former  cue 
for  television  switching  which  can 
also  indicate  to  film  examiners,  cut- 
ters and  projectionists,  when  a 
leader  has  been  spliced  too  often, 
shortening  its  effective  length; 

(9)  Addition  of  a  series  of  X's 
and  O's  on  separate  frame  and  on 
opposite  sides  of  the  film  to  provide 
print-through  cues  for  sound  on  tape 
sync. 

The  length  of  the  new  leader  has 
been  kept  the  same  as  the  original 
Academy  Leader  to   avoid  errors  in 


printing  and  sound  cuing  and  to 
permit  operators  to  continue  using 
well-established    practices. 

The  new  Universal  Leader  is  des- 
cribed in  an  article  in  the  January 
1965  SMPTE  Journal,  written  by 
chairman  of  the  leader  committee. 
N.  R.  Olding  of  the  Canadian 
Broadcasting  Corp.,  Montreal.  Copies 
are  available  from  Smpte  Head- 
quarters, 9  East  41st  St..  New  York. 
New   York   10017. 

The  society  will  make  available 
copies  of  the  leader  on  master  posi- 
tive material  on  both  35mm  and 
16mm  film,  to  enable  laboratories 
to  produce  negatives  for  their  own 
customers.  The  societv  points  out 
that  anyone  wishing  to  replace  old 
positive  leaders  can  obtain  the  new 
leader  on  release  positive  stock  from 
any  commercial  motion  -  picture 
laboratory.  IP 


Foot  Warmer  Mat 
Aids    Projectionists 

A  new  portable  electric  foot 
warmer  which  cannot  be  punctured 
or  damaged  by  ladies'  stilleto  heels 
has  been  announced  by  American 
Mat  Corp.,  Toledo.  By  simply  plug- 
ging into  a  convenient  outlet,  the 
mat  radiates  comforting  warmth  to 
the  feet  and  legs  and  protects  against 
cold  floors  and  drafts.  It  also  may 
help  projectionists,  acting  as  a 
protective    mat. 

Made  of  durable.  7/16"  thick 
nyracord  compound,  the  mat  mea- 
sures 14"  long  by  201/:/'  wide  and 
has  a  ribbed  surface  and  beveled 
edges.  It  is  available  in  mosaic  on 
black,  or  solid  black.  Easy  to  keep 
clean,  it  may  be  washed  in  soap 
and  water.  iP 

Names   Marketing   Manager 

NEW  YORK  —  In  a  move  to 
expand  its  technical  operations  and 
services,  Reevesound  Co.,  Inc.,  a 
subsidiary  of  Reeves  Industries,  Inc., 
has  added  to  its  staff,  it  was  an- 
nounced here  by  Boyce  Nemec,  presi- 
dent of  the  firm.  Charles  Beck,  Jr. 
has  been  named  manager  of  market- 
ing and  sales.  He  has  had  wide 
experience  in  the  marketing  and 
sales  of  engineering  systems  and 
electronic     components.  iP 

Holds  2nd  Election 

MILWAUKEE  —  In  a  re-run  of 
the  Dec.  4  election  of  the  Internation- 
al Alliance  of  Theatrical  Stage  Em- 
ployes, Local  18.  another  election 
was  held  in  February. 

The  election  was  supervised  by 
Glenn  C.  Kalkhoff,  IATSE  repre- 
sentative, assigned  by  Richard  F. 
Walsh,  president.  All  members  were 
allowed  to  vote  by  mail. 

Kalkhoff  said  that  22  members  of 
the  local  had  presented  a  petition 
alleging  irregularities  in  the  Dec.  4 
election.  It  was  agreed  that  a  new 
election   would  be  held. 

Elected  in  the  latest  balloting  were 
Curt  Crain,  president:  H.  Stahnke. 
vice  president:  G.  Baehler,  secretary- 
treasurer;  W.  Domach,  business 
manager;  G.  Kemmer.  sergeant-at- 
arms.  and  A.  Crain.  ninth  district 
delegate.  iP 


CARBON  ARCS       .   .  FOR  FINEST  PROJECTION 


division 
Brighter  Light  on  Screen 

•    Longer  Burning  per  Carbon 
•   More    Economical 


.    .    .    Compact  Xenon  Arcs 


division 


yirriioss  LAMPH0USES  •  X*r*icrAr   POWER  SUPPLIES 


\       CARBONS,    INC.  BOONTON,    N.J.        | 


12 


International  Projectionist         February.  1965 


■■ 


New  Sound  System  Makes  In -Flight 
Motion  Pictures  More  Enjoyable 


\  revolutionary  new  sound  system 
for  Inflight  Motion  Pictures  aboard 
jet  aircraft  is  now  in  operation  on 
both  Trans  World  Airlines  and 
[  nited  Air  Lines,  it  is  announced  b\ 
David    Flexer,   president  of   Inflight. 

The  wbolh  new  sound  concept  was 
installed  in  all  UAL  jets.  flying 
from  California  to  Honolulu,  and  in 
I  nited's  long-range  domestic  aircraft. 
which  started  showing  wide-screen, 
full  color  ino\  ie<  on  Sunday,  Janu- 
ary   17. 

The  entire  transcontinental  and 
trans-Atlantic  fleet  of  T\\  \  has  also 
been  changed  over  to  tbe  new  system. 
I  \\  \  has  been  featuring  Inflight 
movies  since  1961.  "Tbe  new  sound 
development  can  provide  true  stere- 
ophony,"  Mr.  Flexer  said.  ""It  is 
based  >>n  a  fundamental  shift-over 
from  a  magnetic  to  a  dynamic  prin- 
ciple  of   sound    reproducing." 

Ml  future  Inflight  installations 
will    feature   the   new   sound   system. 


I  be  Cinemeccanica  CX-(X)0 

NEW  LAMPHOUSE  —  The  Xetron 
Division  of  Carbons,  Inc.,  Boonton, 
NT.  J.,  announces  the  Cinemeccanica 
CX-900  lamphouse  to  its  line  of  Xenon 
light  saurces.  This  is  a  compact,  highly 
effi  ient  unit,  designed  to  operate  with 
16mm  and  35mm  projection  systems. 
When  operating  at  45  to  50  amperes, 
this  lamphouse  will  deliver  4000-5000 
lumens  of  high  intensity  light.  It  is  a 
complete  unit  including  the  high  volt- 
age starter,  ventilating  fan,  seven  inch 
reflector  and  elapsed  time  meter.  It  is 
said  to  be  especially  suitable  for  small 
screening  rooms  using  35mm  projection 
and  with  16mm  applications  to  replace 
the  carbon  arc  lamp. 


which  carries  not  only  the  dialogue, 
music  and  sound  effects  track  of 
the  movie,  but  also  a  wide  range  of 
stereo  and  monaural  audio  program- 
ming. The  new  Inflight  sound  s\stem 
is  the  result  of  months  of  experimen- 
tation. Development  costs  exceed 
8500,000. 

Originally  the  earsets,  through 
which  the  sound  is  delivered  to  each 
airborne  passenger,  were  equipped 
with  a  tiny  sound  head,  which  were 
about  the  size  of  a  five-cent  piece. 
Ihc\  were  magnetic  transducers. 
which  bung  from  the  left  earpiece. 
I  hc\  weighed  about  an  ounce.  The 
new  earsets  do  awa\  with  the  mag- 
netic transducers.  Instead  two 
dynamic  sound  heads,  each  four 
times  larger  than  the  original  piece 
of  equipment,  has  been  permanently 
fixed  in  junction  boxes  attached  to 
the  airplane  seal.  The  earset  is  now 
even  lighter  in  weight.  It  consists  of 
two  acoustical  plastic  tubes,  forming 
true  stereophonic  sound  conduits. 
1  he  earpieces  have  been  redesigned 
to  fit  the  contour  of  the  head  and 
inner  car.  Disposable  plastic  eat 
ti|>^  lit  snugly  against  the  car  drum, 
shielding  out  cabin  noises  and  mak- 
ing a   rich   and   firm   sound    contact. 

["he  dramatic  improvement  in  the 
Inflight  sound  system  was  made 
possible  b\  the  development  of  solid 
state  transistorized  amplifiers,  small 
enough  for  aircraft  application  which 
for  the  first  time,  could  deliver  suf- 
ficient output  to  handle  the  doubled 
number  of  four-times  enlarged 
dynamic   transducers. 

The  junction  boxes  also  have  been 
fitted  with  new  sensitive  volume 
controls,  so  that  the  passenger  can 
find  the  level  best  suited  to  his  own 
enjoyment  without  disturbing  any 
other   passenger.  iP 


THE  VERY  FINEST 


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The  ultimate  in  precision,  long  life  and  dependability— 
they  keep  projectors  in  top  operating  condition  essential 
to  good  pictures,  patron  satisfaction  and  good  business. 
Available  through  your  Theatre  Equipment  Dealer. 


MACHINE   WORKS 

4635  W.  LAKE  ST.,  CHICAGO  44,  ILL. 
TELEPHONE— AREA  312— ES  8-163S 


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Available   from 

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International  Projectiomst        February,  1965 


13 


Morris  J.  Rotker,  Boothman  51  Years, 
Originated  Will  Rogers  Copper  Drive 


MORRIS  J.  ROTKER.  Boothmhan. 
NEW  YORK  —  Morris  J.  Rotker. 
motion  picture  projectionist  for  51 
years  until  his  retirement  in  1057. 
originated  the  "Save  Copper  Drive" 
throughout  the  motion  picture  indus- 
try in  the  U.S.,  on  behalf  of  tl  e  Will 
Rogers  Hospital  at  Saranac  Lake. 
N.  Y. 

Rotker,  a  resident  of  the  Bronx, 
began  his  career  as  a  projectionist  in 
April  1907  at  No.  8  Bowery  in  the 
heart  of  Chinatown,  and  through  the 
years  has  put  forth  outstanding 
effort  in  behalf  of  the  industry,  civic 
and  service  organizations  and  the 
nation.  For  the  last  2)  years,  pre- 
vious to  his  retirement,  Rotker 
worked  at  the  RKO  Marble  Hiil  in 
the  Bronv.  and  he  currently  is  secre- 
tary to  Hon.  Sidney  H.  Asch,  Judge 
of  the  civil  court. 

Rotker,      a      native      of     Warsaw, 


OUT  OF  PRINT 

MITCHELL  MANUAL 

AVAILABLE! 

The  renowned  "Manual  for 
Practical  Projection"  by  Robert  A. 
Mitchell  is  now  out  of  print,  ac- 
cording to  an  announcement  by  the 
bookseller.  International  Projec- 
tionist. 

Returns  from  our  retail  outlets 
have  been  consolidated  and  we 
now  have  approximately  40  vol- 
umes of  the  Mitchell  Manual  avail- 
able on  a  first-come-first  served 
basis. 

These  books  are  in  brand  new 
condition,  complete  with  dust 
jackets;  have  never  been  used. 
This  rare  publication  can  be  yours 
for  $10  cash  or  money  order. 
Sorry,  no  C.O.D.  or  foreign  orders 
can  be  accepted  at  this  price. 

Sheehan    Booksellers 

P.O.  Box  6174 
Minneapolis,  Minn.    55424 


Poland,  is  the  father  of  two  sons  and 
two  daughters.  Both  sons  served  with 
distinction  in  World  War  II  after 
enlisting  as  privates.  Harold,  the 
eldest,  was  discharged  with  the  rank 
of  first  lieutenant,  and  Elias  with 
the  rank  of  captain. 

During  World  War  II,  the  father, 
too,  gained  special  note,  receiving  a 
citation  from  the  U.  S.  Treasury  for 
selling  almost  $1,000,000  in  bonds 
and  citations  from  the  War  Produc- 
tion Board  for  the  greatest  single 
collection  of  furs,  nylons  and  books. 
He  was  co-chairman  of  the  Fleetwood 
civil  defense  group  and  a  member 
of  the  War  Production  Board  and 
was  the  only  male  recruiting  officer 
for  the  WACS  for  New  York,  Pen- 
nsylvania   and  Connecticut. 

He  has  been  a  leader  in  many  busi- 
ness, labor,  social,  political  and 
community  organizations.  He  was 
former  organizer  and  president  of 
the  Bronx  Electrical  Contractors 
Ass'n  <  nd  former  chairman  of  the 
administrative  board  of  Polish  Jews 
in  America;  former  president  of 
the  Independent  Warschaver  Sick 
Support  Society;  member  of  the 
board  of  Hyam  Salomon  Home  for 
the  Aged;  past  chancellor  of  national 
Lodge  407  of  Knights  of  Pythias; 
treasurer  of  Masonic  Lodge  1035; 
organizer  and  patron  of  Eastern  Star 
Lodge  798;  member  of  the  Kaplan 
Projection  Society;  organizer  and 
past  president  and  life  member  of 
the  25-30  Club  of  Motion  Picture 
Machine  Operators  of  the  U.S.: 
former  chairman  of  the  Bronx  dis- 
trict 18  school  board;  former  secre- 
tary of  Bronx  school  board  district 
19;  honorary  buff  of  the  New  York 
fire  deparement;  honorary  member 
of  the  Detectives  Endowment  Assn 
of  the  New  York  police  department; 


INTERNATIONAL  PROJECTIONIST 

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Minneapolis  34,  Minnesota 


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Morris  J,    Rotker 

a  former  vice  president  of  the  Tack- 
amuck  Democratic  Club  of  the 
Bronx,  and  held  various  offices  in 
MPMO  Local  306  of  New  York. 

iP 


Artoe  Co.  Perfects 
Coldlite  Reflector 

The  Lee  Artoe  Co.  of  Chicago  has 
announced  a  new  development  in 
reflectors  —  the  Artoe  Coldlite  PX — 
which  is  a  further  perfection  of  its 
Artoe   Coldlite   reflector. 

The  Coldlite  PX  is  an  improved, 
front  surfaced,  dichroic  reflector 
made  of  unbreakable  boro-silicate 
glass,  able  to  withstand  extremely 
high  temperatures  and  very  rapid 
cooling.  Boro-silicate  glass  is  the 
same  compound  used  so  successfully 
in  the  latest  ovenware  as  well  as  in 
space  technology  and  aerodynamic 
research. 

The  Coldlite  PX  dichroic  reflector 
is  optically  ground  by  master  crafts- 
men who  painstakingly  hand  rub 
the  reflector  until  its  polished  sur- 
face is  free  from  blemish,  and  a 
maximum  of  light  is  transmitted 
through  the  aperture  opening.  The 
front  surface  of  the  reflector  is 
evenly  coated  on  a  special  vacuum 
coating  machine  in  order  to  insure 
top   quality   reflection. 

The  Coldlite  PX  is  sold  with  a  two 
year  guarantee  against  breakage 
through  temperature  change  or 
against  surface  blistering  and  deter- 
ioration. It  is  made  in  two  sizes, 
Ashcraft  16"  and  Strong  161/^". 
There  is  no  advance  in  price. 

iP 


14 


International  Projectionist         February,  1965 


basic 
mathematics 

by  nmmtm  u.  caowmmtr 


PRACTICAL 
METHOD 


1 

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. 

+ 

'           ■    .    " 

- 

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• 

...         •  •• 

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• 

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VOLUMES 
1  through  4 
COMPLETE 

nOMCOUHTMC 
DMUCM  CALCUIUS 

U»»  *m<UCH 
TO  tUTWMATKS 

juern  iHB 


51 


LEARMING 
MATHEiNAATICS 


^2 


■■■"'' 


TOM 


A  RIDER 


BASIC   MATHEMATICS 

by  Norman  H.  Crouhurst 

4-volume  'pictured-teit'  course  makes  it  easier  than 
ever  before  possible  to  learn  all  the  math  you'll  need 
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this  remarkable  4-volume  course  takes  you  in  easy 
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calculus  are  interwoven  at  progressively  rising  levels 
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understanding  as  you  penetrate  more  deeply  into 
the  subjects.  Selected  illustrations  create  clear 
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*  KNOWLEDGE  OF  MATH  SPEEDS  YOUR  PROGRESS  IN 
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Volume  I  —  ARITHMETIC  AS  AN  OUTGROWTH  OF 
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Available  at  parts  distributors,  bookstores,  or  direct. 

i 

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/ 


J? 


WE  WONDER  WHAT 

Sir  Humphrey  Davy 

would  have  thought  of 
the  new    F  U  T  U  R  A 

- 

In  1800,  using  charcoal  electrodes,  connected  to  a 
battery,  he  produced  a  brilliant  flame  by  bringing 
the  electrodes  together  and  then  separating  them 
by  a  short  gap.  He  had  discovered  the  parent 
of  today's  carbon  arc,  the  brilliancy  of  which 
has  never  been  surpassed  by  another  man-made 
light  source. 

But  just  as  the  Wright  brothers'  first  plane  has 
been  replaced  by  today's  jets,  so  too  have  most 
previous  projection  arcs  been  outdated  by  Strong's 
Futura.  It  provides  that  extra  measure  of  light  for 
today's  big  drive-in  and  indoor  screens— the  greatest 
amount  of  light  ever  delivered  per  carbon  dollar. 

The  Futura  costs  less  to  buy  and  less  to  use  with 
all  35mm  and  70mm  projectors,  and  any  Strong 
dealer  can  prove  it. 


SEND  FOR  BROCHURE 

The  ^t**&  Electric 
Corporation 

31  City  Park  Ave.  •  Toledo,  Ohio  43601 
Phone:  (419)  248-3741 


II 


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INTERNATIONA 


^  '  flP»  -79  1965  IV 


,  »•» 


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1it: 


"A 


MIGM  INTENSITY  LAMP  J 


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letter  and  brighter  motion  pictures  at  Texas  A  &  M 
ersity,  College  Station,  Texas,  are  certain  as 
Villiam  Spooner,  middle,  factory  representative 
'om  Carbons,  Inc.,  Boonton,  New  Jersey,  explains 
-pe  operation  of  the  equipment  to  Alfred  Thiele- 
lcnn,  left,  and  Gayle  Burrage. 


MARCH 
VOLUME  40 
40c  A  COPY 


1965 

NUMBER  3 

$3.00  A  YEAR 


Society  of  Motion  Picture 


and  Television  Engineers 


I 


(X89£°)     uoxsxAxa  ^apj:o 


SMPTE  Technical  Exhibit  Directory  on  Page  10 


Theatremen  Like  the  Futura 


They  like  its  looks. 

They  like  the  brilliant  light  it  projects  on  the  biggest 
screens. 

They  like  the  low  initial  cost,  low  operating  cost,  low 
carbon  bills. 

They  like  the  ease  of  changing  from  35mm  to  70mm 
•  •  .  instantly. 

They  like  its  convenience  in  cleaning  and  inspection. 

They  like  the  many  new  exclusive  features. 

They  like  the  •  •  .  but  what  else  is  there  to  like? 


Get  brochures  on  the  75-105  ampere  Futura  I  and  100-125/120-160  ampere 
Futura  II  or  see  your  Strong  dealer.  You'll  like  him,  too. 


THE^K^ELECTRIC     CORPORATION 

31  City  Park  Avenue  •  •  Toledo,  Ohio  43601 

Phone:  (419)  248-3741 


INTERNATIONAL 

PROJ  ECTIONIST 


Volume  40         March  1965 


No.  3 


FRANK   W.   COOLEY,    JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO  ASSOCIATES 

National    Advertising    Representatives 

545    Fifth   Avenue.    New   York,    N.  Y.,    10017 

Telephone   Murrayhill    7-7746 

(Area    Code    212) 


IN  THIS  ISSUE 

Industry    News  4 

The    Cover    Story  6 

Texas  A  &   M   Uses    16  MM 

SMPTE    Meeting  9 

New    Rectifiers    Developed  12 

Sound    Track   —   A    New 

Projection    Standard  15 

News    Notes  —  Technical    Hints  —  Miscellaneous    Notes 


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International  Projectionist         March,  1965 


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<< 


Volume  40 


March    1965 


Number  3 


Four  Year  Contract  Set 
With  Hollywood  Studios 


HOLLYWOOD  —  A  4-year  con- 
tract has  been  set  between  the  IA  and 
local  studios,  with  two  wage  increases 
of  23c  hr.  attained  as  well  as  an 
increase  in  the  pension  to  $200. 

The  contract  covers  29  studio 
unions,  22  of  them  IATSE  locals,  and 
seven  basic  cratts.  IATSE  president 
Richard  F.  Walsh  represented  the 
former,  and  Ralph  Clare,  Teamsters 
representative,  spoke  for  the  latter. 
Executive  vice  president  Charles  S. 
Boren  of  the  Association  of  Motion 
Picture  and  Television  Producers  rep- 
resented management,  with  Eugene 
Arnstein,  executive  vice  president  of 
the  Independent  Producers  Associa- 
tion. 

Under  the  new  contract  the  unions 
get  a  23c  hourly  wage  increase  at 
once  and  another  in  the  same  amount 
two  years  from  now.  The  unions  had 
asked  a  65-cent  an  hour  increase.  A 
boost  in  the  pay  rate  for  holiday  work 
is  provided. 

Considered  by  the  unions  to  be 
more  important  than  the  wage  in- 
crease are  the  changes  made  in  the 
pension  plan,  under  which  retirees 
have  been  receiving  $120  per  month. 
This  figure  is  increased  to  $200. 
Additionally,  a  retiree's  spouse  is 
now  covered  by  the  health  and  wel- 
fare provision,  and  dependents  are 
given  additional  hospital  room  allow- 
ances. 

The  new  agreement  creates  a  fund 
to  provide  retraining  for  employees 
whose  occupation  is  affected  by  tech- 
nological developments,  and  for  train- 
ing of  new  employees.  The  special 
aspects  of  this  new  type  of  undertak- 
ing are  left  to  each  individual  local. 

Severance  pay  provisions  are  lib- 
eralized, increased  incentive  for 
employees  to  retire  at  65  is  inherent 
in  several  phases  of  the  new  contract, 
and  a  standing  committee  of  labor 
and  management  to  meet  every  four 
months  to  discuss  developments 
affecting  the  contract  or  its  applica- 
tion is  created. 

Technological  changes,  an  issue  of 
increasing   importance,   will   be   cov- 


ered in  a  clause  yet  to  be  finalized. 

The  unions  dropped  demands  for  a 
flat  ban  on  runaway  production  and 
did  not  negotiate  residual  payments 
on  television  films  for  craft  workers. 

The  increase  in  pension  payments 
will  be  made  up  by  an  increase  in 
employer  contributions  of  8.8c  an 
hour,  and  an  increase  in  employee 
contributions  of  5.8c     an  hour. 

iP 

Film  Salesmen  Get 
Wage  Increase 

Film  salesmen  throughout  the  U.S. 
have  ratified  an  agreement  giving 
them  a  wage  increase  of  $5.50  per 
week,  retroactive  to  last  Dec.  1,  it  is 
announced  by  the  IATSE. 

The  agreement,  negotiated  by  the 
LA.  -  affiliated  Colosseum  of  Motion 
Picture  Salesmen,  raises  the  minimum 
pay  of  those  having  a  year  of  selling 
experience  in  the  industry  from  $100 
to  $105. 

Payments  by  the  employers  into 
the  IATSE  Film  Exchange  Employees 
Pension  Fund  in  behalf  of  each  sales- 
man have  been  increased  75c.  bring- 
ing the  total  contribution  to  $4.50. 

Other    benefits    include:     A    third 


week  of  vacation  after  11  years  of 
service.  In  the  past,  it  was  12  years. 
Columbus  Day  off,  raising  the  num- 
ber of  annual  holidays  to  nine.  An 
increase  in  the  expense  allowance  of 
country  salesmen  from  $12.25  to  $13. 
per    day. 

The  agreement  is  for  two  years. 
Companies  coming  under  it  are 
M-G-M.  Paramount,  20th  Century- 
Fox,  United  Artists,  Warner  Bros.. 
Universal.  Columbia,  Buena  Vista 
and  Allied  Artists. 

Representing  the  Colosseum  in  the 
negotiations  were  President  Bruce 
Marshall  of  Denver;  Stanley  Kosit- 
sky,  Philadelphia;  William  M. 
Garner.  Cincinnati;  Fred  W.  Bunkel- 
man,  Chicago,  and  Allen  Boodman. 
Hollywood,  assisted  by  attorney 
David  B.  Bartell  and  the  IATSE  gen- 
eral  office.  iP 

CLARENCE  G.  LAWING. 
PROJECTIONIST,  DIES 

Clarence  G.  Lawing  of  Charlotte. 
North  Carolina,  died  recently  at  age 
59.  Mr.  Lawing  was  spot  lamp  opera- 
tor at  the  Colosseum  and  projection- 
ist at  the  Visulite  Theater.  He  was  a 
member  of  the  IATSE,  Local  322. 

Mr.  Lawing  converted  Trans-Lux 
rear  projection  equipment  for  Cine- 
mascope projection  by  moving  the 
machines  and  twisting  the  film  be- 
tween the  sound  head  and  projector 
head.  iP 


Census  Bureau  Says  12,652  Theatres  in 
U.S.  in  1963,  Grossing  $1,062  Billion 


WASHINGTON  —  There  were 
12,652  motion  picture  theatres  in  the 
U.  S.  in  1963,  according  to  figures 
from  the  Census  Bureau,  of  which 
12,040  had  payrolls.  Total  receipts 
for  all  theatres  was  $1,062,732,000, 
of  which  the  theatres  with  payrolls 
received   $1,057,224,000. 

Of  the  theatres,  9,150  were  conven- 
tional houses  and  3,502  were  drive- 
ins.  The  hard-top  theatres  had 
receipts  of  $807,596,000  while  the 
drive-ins'  receipts  totaled  $255,136,- 
000.  Conventional  theatres  with  pay- 
roll had  receipts  of  $803,458,000, 
while  drive-ins  with  payrolls  took 
$253,756,000. 


Payrolls  for  hard-top  theatres  in 
1963  totaled  $201,132,000  for  their 
89,999  employees,  while  drive-ins' 
payrolls  came  to  $48,867,000  for 
their  22,522  employees. 

There  were  7,440  active  proprietors 
of  unincorporated  businesses  in  the 
motion  picture  theatre  business  in 
1963,  of  whom  5,331  had  conven- 
tional theatres  and  2.109  had  drive- 
ins. 

There  were  3,729  establishments 
engaged  in  motion  picture  produc- 
tion, distribution  and  services  in 
1963.  of  which  2,829  had  payrolls. 
Their  total  receipts  were  $1,662,233.- 
000.  iP 


International  Projectionist        March,  1965 


■  ,i 


What'll  the  boys  in  the 
back  row  have?  They'll 
have  the  same  bright  picture  as 
the  boys  in  the  front  row  if  you 
use  'National'  projector  carbons! 
(The  No.1  choice  since  1917) 


Movie  patrons  in  the  rear  rows,  generally  speaking, 
pay  the  same  box  office  prices  as  the  downfronters. 
But  they  get  smaller  images  and  less  enjoyment  if 
your  screen  lighting  isn't  sufficiently  brilliant. 

Give  them  the  break  they  deserve.  Trim  your  lamps 
with  "National"  projector  carbons  — the  brightest 
light  in  the  movie  industry  for  almost  50  years. 

Remember,  late  comers  in  the  back  rows  are  the 
extra-profit  patrons.  Keep  them  happy  — keep  them 
coming  back  with  the  top-quality  lighting  of 
"National"  long-lasting  projector  carbons! 


UNION 
CARBIDE 


"National"  is  a  registered  trade  mark  of 

UNION  CARBIDE  CORPORATION 

CARBON  PRODUCTS  DIVISION 

270  Park  Avenue  •  New  York,  N.  Y.  10017 
In  Canada :  Union  Carbide  Canada  Limited,  Toronto 


INTERNATIONAL   PROJECTIONIST  March,   1965 


The  Cover  Story  .  .  . 

XeTron  Projection  System 


A  highly-profitable  summer  at  the  Grove  Theatre, 
Texas  A  &  M  University,  College  Station,  Texas, 
has  been  translated  into  better  business  in  Guion 
Hall  at  the  college.  This  installation  shows  motion 
pictures  before  college  students  and  gives  some 
employment  to   local   projectionists. 


Texas  A  &  M  University  is  the  largest  military 
school  in  the  United  States,  with  8,320  students. 
Guion  Hall  seats  2,150  and  has  shown  three  mo- 
tion pictures  a  week.  90%  of  the  films  have  been 
35mm  and  10%  16mm  in  the  past  but  with  this 
new  equipment  they  now  plan  to  produce  16mm 
exclusively  because  of  the  great  improvement  in 
the  equipment.  The  projectors  feature  the  XeTron 
light  source  installed  by  Carbons,  Inc.  Boonton, 
New  Jersey. 

"With  this  new  type  of  lamp,  the  picture  will  be 
more  than  three  times  brighter  than  our  old  1200 
watt  bulbs,"  said  Wallace  Johnston,  student  pro- 
gram advisor. 


Here  is  the  lamp  house  of  the  JAN  projector,  to- 
gether with  the  various  parts  used  in  the  modifica- 
tion, an  unusual  application  for  16mm  motion  pic- 
tures, according  to  Frank  H.  Riffle,  president  of 
Carbons,  Inc. 


This  illustration  shows  the  modified  JAN  pro- 
jector using  the  XeTron  Kit  by  William  Spooner. 
The  letters  and  arrows  illustrate  the  areas  in  which 
Mr.  Spooner  made  mechanical  modifications  to  the 
JAN  projector. 


* 


The  Texas  A  &  M  installation  is  a 
■  very  interesting  application  of  16- 
mm  projection  as  it  is  a  large  auditor- 
ium with  a  seating  capacity  of  2,150. 

Previously  90%  of  the  films  were 
35mm  because  the  16mm  equipment 
was  unable  to  provide  the  necessary 
screen  brightness.  The  screen  size 
for  the  16mm  presentation  is  24x17 
ft.,  which  is  a  real  test  for  any  16mm 
projector. 

The  Bell  &  Howell  JAN  projectors 
were  modified  by  William  Spooner, 
representing  the  XeTRON  Division 
of  Carbons,  Inc.  The  results  have 
been  so  outstanding  that  the  decision 
has  been  made  to  use  16mm  prints 
on  as  many  showings  as  possible. 
It    is   estimated    that    in    the   future, 


90%   of  all  feature  pictures   will  be 
with  16mm  prints. 

The  actual  modification  of  the 
standard  JAN  projector  can  be  made 
in  about  one  hour.  This  permits 
the  attachment  of  the  XeTRON  lamp- 
house  and  its  easy  removal  for  trans- 
porting. This  lamphouse  contains  the 
necessary  high  voltage  starter  unit 
plus  a  front  coated  reflector  and 
associated  adjustment  controls. 

If  the  projector  does  not  have  t  ie 
standard  two  blade  shutter,  it  should 
be  used,   otherwise  maximum  serf 
brightness  will  not  be  obtained. 

The  Osram  450  watt  Xenon  bulb 
operates  in  the  range  of  23  to  28 
amperes,  and  by  careful  design  of 
the      reflector      very      good      overall 


efficiency  is  obtained.  The  arc  volt- 
age for  this  bulb  is  approximately 
20  volts  after  ignition.  As  the  quartz 
envelope  is  filled  with  Xenon  gas. 
under  pressure,  a  30.000  volt  pulse 
is  supplied  at  the  instant  the  start 
button  is  depressed.  This  ionizes 
the  gas  and  allows  the  initial  current 
flow. 

The  projected  light  is  of  the  high 
intensity  type  and  compares  favor- 
ably with  that  of  the  small  carbon 
arc  operating  in  the  28  to  30  ampere 

International  Projectionist         March.  1965 


■nge.  The  color  temperature  i-  ap- 
Eoximatel)  5600'  Kelvin,  and  this 
-  an  extra  plus  factor  for  audi- 
fcrin ms  which  are  used  part  time 
for  educational  purposes  —  as  the 
pose  lights  can  be  used  without  too 
ding  the  picture  <>n  the  screen. 

Hi.-  power  suppl)  requirements  are 
of  a  special  nature  and  calls  for  a 
very  low  current  ripple  in  order  to 
cl.tain  maximum  life  expectancy 
from  the  l>ull).  The  power  suppl) 
mu>t  also  suppl)  a  no-load  voltage  of 
approximated  80  volts,  to  aid  in  the 
initial  start,  and  drop  immediate!)  to 
the  20  volt  value. 

This  i>  one  of  the  man)  installa- 
tion* where  it  has  been  possible  to 
kgrade  the  qualit)  of  L6mm  projec- 
tion to  achieve  professional  type 
results  h\  the  use  of  a  properl)  <\r- 
Igned  Xenon  lamphouse,  Mr. 
Ipoonei    and   president   Frank   Riffle 

report. 

iP 

Oklahoma  City 
Projectionists  Note 
50th  Anniversary 

0KLAHOM  \  CI  n  rhe  two- 

da\    50th  anniversar)    celebration   of 

tli.-  Motion  Picture  Machine  Oper- 
ators. Local  380,  I  VI'SK.  was  held 
here  at  the  Oklahoma-Sheraton  Hotel. 

Gold  membership  cards  were  pre- 
sented to  three  chartei  members  "I 
local  380,  Howard  Wortham,  Bert 
Rell  and  Prank  Holic.  Speaker  of  the 
Oklahoma  House  of  Representatives. 
J.  I).  McCarthy,  acted  a-  m  ister  of 
ceremonii  - 

For  mam  years  the  union  has 
nrnished  equipment  for  the  Crippled 
Children's  Hospital  In  re.  ha\  ina 
instructed  a  booth  and  furnished 
the  latest  in  projection  equipment  ami 
have  been  showing  motion  pictures 
on  each  Saturday  for  the  past  many 
years    to    shut-ins. 

Two  vears  asro.  during  the  celebra- 
tion  and  world  premiere  of  MOM- 
"Cimarron."  the  projectionists  nlaved 
a  part  in  the  festivities.  Several 
members  of  the  Shrine's  local  group 
drove  their  own  matching  white 
Cadillac  convertibles,  complete  w  ith 
( detachable)  red  revolving  warnina 
lishts.  as  parade  vehicles  for  film 
stars  like  Anne  Baxter  and  Clenn 
Ford. 

For  several  vears  the  union  has 
been  collecting  carbon  drippiners  from 
theatres  in  Oklahoma  Citv  and  other 
parts  of  Oklahoma  and  selling  them. 
This  vear  it  pot  enough  with  a  dona- 
tion from  members  to  present  a  check 
for  *100  to  the  Will  Roerers  Hospital. 

iP 


All-Purpose  Sound  Projection  System  by 

CINEMECCANICA 

Complete  change  from  70  to  35  mm  in 

LESS  THAN  ONE  MINUTE 

The  perfect,  simplified  system 
for  all  processes 

XeNON  CINEMECCANICA  Lamphouses  for 
450-900-1600-2500  and  6500  watt  bulbs 

Exclusive  Distributor  for  U.S. 

y.vTR  OJ\T 

ADivisionof  CARBONS  Inc.,  Boonton,N.J. 


International  Projectionist        March.  1965 


Get  all  the  facts!  Ask  your  equip- 
ment dealer  for  the  new  1964 
Kollmorgen  Projection  Lens  Cata- 
log or  write  us  direct. 

^KOLLMORGEN 


CORPORATION 
MPTON,       MASSACHUSETTS 


Ballantyne  Equips 
California   Drive-In 

Ballantyne  Instruments  &  Electron- 
ics will  completely  equip  the  beautiful 
1750-car  Sunnyside  Drive-In  Theatre, 
Fresno,  Calif.,  and  the  fabulous  new 
1,750  car  Kalua  Drive-In  in  Hawaii, 
for  Pacific  Drive-ins  Theatres  Corp., 
Los  Angeles. 

The  complete  job  features  Ballan- 
tyne "All-in-One  Package"  equipment 
including  all-sound  projection  booth, 
box  office  and  concession  equipment. 

Ballantyne  executive  vice  president 
J.  R.  Hoff  said  that  Pacific  Theatres 
has  "gone  all  the  way  on  top  quality" 
and  included  Ballantyne  transis- 
torized sound,  pre-amplifier  system, 
and  Ballantyne  MX  power  amplifiers, 
Norelco  AAII  70mm  projectors,  Jet 
Arce  lamps  and  Ballantyne  360° 
electric  heaters. 

The  Fresno  Drive-In  will  also  in- 
stall 525  Ballantyne  360°  electric 
heaters.  Complete  concession  equip- 
ment will  include  ovens,  freezers, 
Tappan  Micro-Wave  ovens,  pizza 
ovens,  etc. 

The  Sunnyside  Drive-In  in  Fresno 
is  scheduled  for  opening;  April  1  and 
the  Kalua  follows  in  30  days. 

The  screen  tower  at  the  Sunnyside 
in  Fresno  is  50x140  ft.,  while  the 
Kalua  in  Hawaii  has  a  50x114  ft. 
screen. 

IP 

Ed   Hill   Retires 
From  Toronto's   173 

TOP  ONTO.  CANADA  —  One  of 

the  oldest  pioneer  projectionists,  Ed 
Hill.  I  ocal  173,  has  retired  after  58 
vears  of  service  in  the  motion  pic- 
ture projection  craft  in  show  busi- 
ness. A  charter  Gold  Card  member 
for  50  years  of  Local  173  IATSE 
and  now  holder  of  an  honorable 
withdrawal  card,  Mr.  Hill  started 
his  career  with  the  Griffin  Amuse- 
ment Company  as  operator  in  the 
silent  days.  Most  film  projectors  were 
hand-cranked  varieties  in  those  days, 
and  there  was  no  sneaking  out  of 
the  booth  to  see  what  the  picture 
was   all  about.   Mr.   Hill  points   out. 

There  were  illustrated  songs  and 
slides  with  two  single  reels  to  a 
show — Mr.  Hill  was  able  to  crank 
the  projector  with  one  hand  and 
rewind  with  the  other,  working  from 
9:00  A.M.  to  11  P.M.  and  "lucky  if 
there  even  was  a  relief  man." 

Show  business  drew  Mr.  Hill  about 
1909  when  he  traveled  road  shows 
with  Johnston  and  Burns  as  well  as 
handling  stage  gear  and  spot  lamps 
at  the  old  Star  and  Gaiety  Theaters 
in  Toronto. 

iP 


1965  International 
Convention  Set  for  Audio 
Engineering  Society 

LOS  ANGELES  —  This  city  will 
host  the  1965  international  conven- 
tion of  the  Audio  Engineering 
Society  April  27-30.  The  world 
famous  Los  Angeles  Music  Center 
and  the  Hollywood  Roosevelt  Hotel 
have  been  chosen  as  conference  and 
special    event    sites. 

More  than  1000  representatives 
and  special  invited  guests  are  expect- 
ed to  attend  the  convention.  Because 
of  the  increased  interest  from  exhibi- 
tors and  added  technical  papers,  the 
convention's  original  date  of  March 
23-26  has  been  advanced. 

"Audio  Advancement"  is  the  "key" 
to  this  years  convention  theme. 
"Audio  For  The  Performing  Arts." 
Technical  papers,  conference  sem- 
inars and  exhibit  booths  are  sche- 
duled. 

This  convention  will  host  the 
largest  exhibit  of  professional  audio 
equipment  on  the  West  Coast.  Pre- 
sentation awards  for  outstanding  pro- 
fessional contributions  to  the  audio 
industry  will  be  made  to  AES  mem- 
bers. A  special  honorary  award  and 
membership  will  be  presented  to  Walt 
Disney  for  his  signal  achievement 
and  major  tribute  to  the  performing 
arts,  in  recognition  of  his  early  use 
of  multi  channel  sterophonic  motion 
picture  sound  systems  and  for 
developments  in  audio  animatronics. 

iP 


New  York  State 
Projectionists  Plan 
May  17  Meeting 

The  spring  meeting  of  the  New 
York  State  Association  of  Motion 
Picture  Projectionists  will  be  held 
May  17  at  the  Hotel  New  Yorker  in 
New  York  City. 

Steve  D'Inzillo,  Business  Agent  of 
Local  306  in  New  York,  has  offered 
the  complete  services  of  himself  and 
staff  to  make  the  spring  meeting  an 
outstanding  affair. 

A  highlight  of  the  meeting  will 
be  a  tour  of  the  World's  Fair  on 
May  18  for  delegates  and  guests, 
sponsored  by  Local  306. 

George  F.  Raaflaub  is  Secretary- 
Treasurer  of  the  New  York  State  As- 
sociation of  Motion  Picture  Projec- 
tionists and  Edward  G.  Hurd  of 
Mixed  Local  377,  Ithaca,  New  York 
is  handling  publicity  on  the  meeting. 

iP 


International  Projectionist        March.  1965 


I 


Kodak  Sales,  Earnings 
At  New  Highs  in  1964 

Eastman  Kodak  Co.  sales  and 
earnings  for  1964  advanced  to  new 
highs.  Albert  K.  Chapman,  chairman, 
and  William  S.  Vaughn,  president, 
report.  Consolidated  sales  of  Kodak's 
U.  S.  units  in  1964  reached  81.237.- 
i  7'  :2V).  about  12','  over  the  $1,106,- 
670.760  of  1963.  Net  earnings  were 
$187,248,263,  nearly  $43  million— or 
about  30rc  over  the  1963  total  of 
>1  ll.12o.503.  Net  earnings  equalled 
S4.64  a  share  of  common  stock  as 
compared  with  $3.57  a  share  in  1963. 
They  were  15.1'/'  of  sales  for  196-1 
as  against  13.1' ',    for  1963. 

Cash  dividends  on  the  common 
stock  advanced  21',  to  nearU  $121 
million  in  1964.  Dividends  declared 
were  $3  per  share,  compared  with 
$2.60  on  the  shares  outstanding  in 
L963.  V  two-for-one  stock  split  was 
voted  by  the  directors,  subject  to 
approval  by  the  share  owners  at  the 
annual  meeting  in  April.  This  action 
would  double  the  number  of  shares 
authorized  and  issued  and  would 
reduce  the  par  value  from  $10  to  $5 
per  share.    Total   cash   dividends   on 


the  common  stock  have  been  in- 
creased in  each  of  the  past  16  years. 
Kodak  has  paid  cash  dividends  on 
the  common  shares  for  63  consecu- 
tive years. 

On  a  world-wide  consolidated  basis 
(eliminating  intercompany  trans- 
actions). 1964  sales  totaled  $1,541.7 
million,  up  about  12',  from  the  pre- 
vious year.  iP 

NEW  TECHNIQUE 
A  special  optical  photographic 
technique,  incorporating  still-picture 
color  negatives  into  a  motion  picture, 
will  be  used  for  the  first  time  in 
Warner  Bros.'  "The  Third  Day." 
starring  George  Peppard  and  Eliza- 
beth Ashle\  under  Jack  Smight's 
direction. 

The  technique  was  developed  1>\ 
David  Sutton,  who  was  retained  b\ 
\\  arner  Bros,  for  special  magazine 
photography  on  the  drama,  which  is 
being  filmed  in  Technicolor  and 
Panavision.  Technically,  it  involves 
a  progression  of  images  within  a 
single  exposure  at  the  moment  of 
shooting  with  a  zoom  lens,  creating 
an  illusion  of  movement  within  a 
-!ill   photograph.  iP 


Westland  Theatres 
Starts  Construction  of 
$500,000  Hardtop 

COLORADO  SPRINGS  —  A  new 

$500,000  dollar  850-seat  hardtop,  in 
construction  by  Westland  Theatres, 
Inc..  is  planned  for  mid-summer 
opening. 

The  new  house  will  be  called 
Cinema  70.  it  was  designed  by  Lusk 
and  Wallace,  architects,  and  incor- 
porates two  dozen  new  features  lack- 
ing in  the  present  modern  theatre, 
according  to  L.A.  Staresmore.  presi- 
dent of  Westland. 

Features  include  is  the  away-from- 
the-auditorium  lobby,  lounge,  con- 
cessions bar  and  boxoffice,  which  is 
housed  in  a  separate  circular  building 
connected  with  a  glass  enclosed  corri- 
dor. 

The  large  parking  area  will  be 
reached  by  a  covered  walk  past  land- 
scaped grounds.  A  25x56  ft.  curved 
screen  and  projection  booth  large 
enough  and  so  equipped  as  to  ac- 
commodate any  current  and  experi- 
mental system  of  projection  is 
promised.  iP 


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36-32  THIRTY-EIGHTH  STREET,  LONG  ISLAND  CITY,  NEW  YORK 


International  Projectionist        March.  1965 


Projection  Treated . . . 

Record  Number  of  Papers  and 
80  Booths  at  SMPTE  Meet 


Motion  picture  and  television 
equipment  manufacturers  have  re- 
served exhibit  space  for  the  97th 
Society  of  Motion  Picture  and  Tele- 
vision Engineers  Technical  Confer- 
ence Equipment  Exhibit  March  29 
through     April     1,     states     Warren 


Strang,  Hollywood  Film  Co.,  exhibit 
chairman.  The  Conference  is  set  for 
March  28  to  April  2  at  the  Ambassa- 
dor Hotel,  Los  Angeles.  An  all-time 
high  number  of  technical  and  scien- 
tific papers  will  be  presented  in  20 
sessions. 


Another  FIRST  for  KNEISLEY 

Miniaturized  High  Current 
Silicon  Rectifiers 


THE  MOST  COMPACT  RECTIFIERS 
EVER  DESIGNED 

Occupy   only   1/7  square   foot   of   usable 
floor  space  in  your  projection  room 


In  uuest  of  projection  room  modernization  and 
elimination  of  costly  booth  wiring,  Mel  Glatz,  of 
Fox  Inter-Mountain  Theatres  Inc.,  insisted  upon 
compact  rectifiers  to  mount  adjacent  lamphouses. 
Kneisley  engineers  complied  by  designing  115,  140, 
and  180  ampere  3  phase  rectifiers  in  housings 
measuring  20"  x  20"  x  10"  utilizing  only  a  small 
fraction  of  floor  space. 


R.  F.  Kneisley 

President,  The  Kneisley 

Electric   Company 


These  miniaturized  rectifiers 
are  designed  to  mount  over 
pedestal  base  beneath  projector 
motor.  Required  floor  space  is 
reduced  from  3  square  feet  to 
1/7  square  foot. 


Installation    provides    "on 
spot"    current   adjustment. 


the 


All  three  models   are  equipped  with  480  ampere   heavy  duty 
silicon  stacks. 


Automatic  Arc  Striking  Current  Minimizers  supplied  with  each 
rectifier  for  reflector  protection. 


Blower  draws  cool  air  into  rear  housing,  through  silicon  stack, 
upward  and  over  transformers  into  lamphouse  exhaust  system, 
eliminating   heat   in  projection   room. 

V/rite  us  for   detailed   information.    Address  Dept.   P. 


Mel    Glatz 
Designer,    Fox    Inter-Mountain 
Theatres,    Denver,    Colorado 


Current  adjustment  is  provided 
by  4  rough  and  8  fine  taps, 
conveniently  located  beneath 
hinged  doors. 

Requires  only  3  phase  line  into 
rectifier.  Practically  all  expen- 
sive D.C.  wiring  as  well  as 
direct  current  line  loses  are 
abolished. 

Employs  new  method  of  ventila- 
tion (see  chart  below). 

■-•"  i  i 


THE  KNEISLEY  ELECTRIC  COMPANY 


P.  0.  BOX  1506 


TOLEDO,  OHIO  43603 


10 


Over  80  booths  will  show  services 
and  new  equipment  for  the  industry. 
Exhibitors    include: 

Amega  Corp.,  Sun  Valley,  Calif; 
Amco-Engineering  Corp.,  Madras,  India; 
Ana-Tec/Air  Cargo  Div.  of  Monogram, 
Culver  City,  Calif.;  Arriflex  Corp.  of 
America,  New  York;  Bach  Auricon, 
Inc.,  Hollywood;  Bell  &  Howell  Co., 
Chicago;  Birns  &  Sawyer  Cine  Equip- 
ment Co.,  Los  Angeles;  Cinnema  Beau- 
lieu,  Hollywood;  ColorTran  Industries, 
Inc.,  Burbank,  Calif.;  Andre  Debrie  of 
New  York,  College  Point,  N.  Y.;  Eclair 
Corp.  of  America,  Los  Angeles;  John  P. 
Filbert  Co.,  Inc.,  Los  Angeles;  Frigid- 
heat  Industries,  Nashville;  General  Elec- 
tric Co.,  Lamp  Div.,  Los  Angeles;  Gor- 
don Enterprises,  North  Hollywoood; 
Gryphon  Corp.,  Burbank,  Calif;  Karl 
Heitz,  Inc.,  New  York;  Frank  Herrn- 
feld  Engineering  Corp.,  Culver  City, 
Calif.;  Hollywood  Film  Co.,  Hollywood; 
Hughes  Electronics  Co.,  Los  Angeles; 
J  &  R  Film  Co.,  Hollywood;  L-W  Photo, 
Inc.,  Van  Nuys,  Calif. 

Macbeth  Sales  Corp.,  Newburgh, 
N.  Y.;  Magnasync  Corp.,  North  Holly- 
wood; Magnetic  Sales  Corp.  and  Ryder 
Sound  Services,  Inc.,  Hollywood;  Metro/ 
Kalvar,  Inc.,  New  York;  D.  B.  Milliken 
Co.,  Arcadia,  Calif.;  The  3M  Co.,  St. 
Paul;  Mole-Richardson  Co.,  Hollywood; 
Moviola  Mfg.  Co.,  North  Hollywood; 
North  American  Philips  Co.,  Inc.,  New 
York;  O'Connor  Engineering  Labs., 
Pasadena,  Calif.;  Oxberry  Corp.,  Mama- 
roneck,  N.  Y.;  Plastic  Reel  Corp.  of 
America,  Weehawken,  N.  J.;  Quick-Set, 
Inc.,  Skokie,  111.;  Sarkel  Corp.,  Los 
Angeles;  Sol-Lux  Cinema  Electronic, 
Los  Angeles;  S.O.S.  Photo-Cine-Optics, 
Inc.,  Hollywood  and  New  York;  Stancil- 
Hoffman  Corp.,  Los  Angeles;  Traid 
Corp.,  Encino,  Calif.,  and  Treise  Engi- 
neering, Inc.,  San  Fernando,  Calif. 

Exhibits  will  be  open  Monday. 
March  29,  5  to  8  p.m.;  Tuesday! 
March  30,  11  a.m.  to  8  p.m.  Wednes- 
day, March  31,  9:30  a.m.  to  4  p.m.; 
and  Thursday,  April  1,  11  a.m.  to  6 
p.m.  There  will  be  an  Exhibitors' 
Open  House  on  Monday,  March  29  at 
5  p.m.,  where  all  registrants  and 
holders  of  exhibit  passes  are  invited 
for  the  opening.  Refreshments  will 
be    served. 

For  the  first  time  in  Los  Angeles, 
the  SMPTE  will  show  its  highly  suc- 
cessful Test  Film  Booth,  which  had 
its  initial  showing  at  the  Society's 
96th  Conference  in  New  York  last 
fall. 

Demonstration  of  the  various 
Society  test  films  will  highlight  the 
booth's  activity,  along  with  the  show- 
ing of  the  new  SMPTE  Universal 
Leader  (see  separate  story)  and  en- 
larged pictures  of  many  SMPTE  test 
films.  Complimentary  literature  will 
be  available,  including  SMPTE 
Recommended  Practices  relating  to 
test  films,  TV  transmission  and 
image   specifications. 

The  booth  will  remain  open  during 
all  hours  of  SMPTE  Conference 
activity  and  will  be  manned  by 
SMPTE  assistant  staff  engineer 
Joseph  R.  Stibfel.  iP 

International  Projectionist        March,  1965 


Norelco  Exhibits  Special  New 
Projectors  at  SAAPTE  Conference 


New  developments  in  Norelco  pro- 
jection equipment  will  be  on  display 
in  Norelco's  booths  227-228  at  the 
Society  of  Motion  Picture  and  Tele- 
vision Engineers'  Exhibit,  in  the  Am- 
bassador Hotel.  Los  Angeles,  March 
29  through  April  1.  states  Niels 
Tuxen.  head  of  the  Motion  Picture 
Equipment  Division  of  the  North 
American    Philips    Co. 

A  brand  new  stop-motion  35mm 
Norelco  projector  designed  especially 
for  technical  conferences  and  x-ray 
and  medical  analysis  will  he  shown 
for  the  first  time.  This  projector 
operates  at  speeds  ranging  from 
the  normal  2 1  frames  per  second  to 
single  frame  stop  motion.  Also  to  be 
shown  is  the  Norelco  portable  35mm 
projector  that  weighs  onl\  67  lbs. 
and  yet  has  the  features  of  regular 
35mm   professional    projectors. 

Another  new  projector  to  be  shown 
is  the  special  purpose  Norelco  FP-20 
35mm  projector,  modified,  for  use 
in  sound  mixing  studios  and  screen- 
ing rooms.  This  unit  operates  for- 
ward and  reverse  in  sync  or  interlock 
from  local  or  remote  control.  The 
projector  includes  looping  rollers 
and  high  speed  rewind.  It  is  available 
with  an  incandescent.  Xenon.  Arc  or 
Pulse-Lite  light  source.  Another 
special  model  of  this  projector  is  also 
available  for  TV  scanning  with  simul- 
taneous screen  projection. 

These  special  purpose  projectors 
are  available  from  Ma<rna-Tech 
Electronics  Co..  Inc..  manufacturers 
of  sound  recording  and  screening 
room  equipment.  Magna-Tech  is  also 
offering  an  all  electronic  interlocked 
frame  and  footage  read-out  counter 
featuring  automatic  preset  stops  for 
use  with  this  special  purpose  pro- 
jector. 

A  complete  line  of  Isco  lenses. 
which  are  distributed  by  Norelco  in 
the  United  States,  will  be  displayed. 
These  lenses  range  from  the  T-Kip- 
tagon.  reported  the  most  widely  used 
70mm  projection  lens  in  the  world, 
to  the  Super  Kiptar.  super-fast  35mm 
lenses. 

Norelco  also  manufactures  a  line 
of  16mm  Tele-Cine  projectors  and 
related  equipment.  Although  these 
products  will  not  be  displayed  at  the 
SMPTE  exhibit,  complete  informa- 
tion,   literature    and    technical    data 

International  Projectionist        March, 


will     he     available     at     the    Norelco 
booths. 

Niels  Tuxen  and  Fred  Pfeiff.  of  the 
Norelco  Motion  Picture  Equipment 
Division,  and  Norman  T.  Prisament 
of  Magna-Tech.  are  scheduled  to  be 
on  hand  at  the  exhibit  to  provide 
information  and  assistance  t  o 
SMPTE  members  and  other  visitors. 

iP 


C.  P.  O'Grady 

Elected  by  National  Theatre 

NEW  YORK  —  C.  P.  O'Grady  has 
been  elected  to  the  office  of  admin- 
istrative vice  president  of  National 
Theatre  Supply  Co.,  it  was  an- 
nounced by  W.  J.  Turnbull.  presi- 
dent. O'Grady  has  been  associated 
with  National  for  35  years  in  many 
capacities.  He  will  continue  to  serve 
as  president  of  Cinesound  Service 
Corp..  a  wholly  owned  NTS  subsi- 
diary. 

iP 


Available  now! 
the  NEW 

SMPTE 

UNIVERSAL 

LEADER 


Result  of  5  years  of  work  by 

SMPTE  Engineering  Committees 

made  up  of  producers,  laboratory 

specialists,  projectionists 

and  television  broadcasters 

FEATURES   include: 

Timing  in  seconds 

Moving  wedge  for  time  measurement 

Trailer  section  with  ID  frames 

Master  positives  of  leader  and  trailer 
available  from  SMPTE  Headquarters 

Society  of  Motion  Picture  and  Television  Engineers 

9  East  41  Street,  New  York,  N.Y.  10017  Tel:  (212)  TN  7-5410 

1965  11 


■ 


Kneisley  Electric  Develops  Miniaturized 
Silicon  Rectifiers  for  Projection  Room 


At  the  request  of  Mel  Glatz. 
designer  and  purchasing  agent  for 
Fox  Intermountain,  Denver,  Colo., 
in  his  quest  for  the  elimination  of 
costly  booth  wiring,  The  Kneisley 
Co.,  utilizing  a  new  version  of  venti- 
lation, has  reduced  the  size  of  their 
115,  140,  and  180  ampere,  3  phase, 
silicon  rectifiers  from  42^2  "x24"xl8" 
to  20"x20"xl2".  Simultaneously, 
transformer  operating  temperatures 
were   reduced   appreciably. 

These  designs,  utilizing  waste 
space  in  the  booth,  mount  over  the 
pedestal  base,  beneath  the  projector 
motor,  reducing  usable  floor  space 
requirements  from  3  sq.  ft.  to  l/7th 
sq.  ft.  Costly  wiring  is  eliminated. 
Only  one  3-phase  line  need  be 
brought  into  the  rectifier  through  a 
4"  surface  gutter  positioned  beneath 
the  rectifier. 

Flue  aperatures  in  the  tops  make 
possible  stacking  out  the  heat  loss  of 
the  rectifiers  into  the  lamphouse 
exhaust  system,  so  that  you  do  not 


pay  for  air  conditioning  loss;  nor 
do  you  heat  up  the  projection  room 
in  the  summer,  if  not  air  conditioned. 

Three  models,  M115RTK2,  M140- 
RTK2,  and  M180RTK2,  utilize  the 
R-1325  480  ampere  heavy  duty  sili- 
con stacks.  All  230  volt  rectifiers 
have  voltage  ranges  of  190  to  250 
volts.  Odd  voltage  designs  are 
available.  Four  rough  and  eight  fine 
current  adjustment  taps,  conveniently 
located,  replace  switches.  Emergency 
studs  are  provided,  on  the  terminal 
board,  so  that  either  rectifier  can 
operate  either  lamp.  Automatic  arc 
striking  current  minimizers  are  sup- 
plied with  each  rectifier.  Nothing 
has  been  sacrificed,  quality-wise,  to 
attain  compactness,  the  company 
states. 

Being  only  20"  high  ( without  the 
detachable  legs  used  for  installations 
adjacent  the  pedestal)  they  can  be 
positioned  directly  beneath  the  lamp- 
house  in  70mm  installations.  The 
base   of  the   rectifier   is   solid   sheet- 


From  Coast  to  Coast 

From  the 

Music   Hall 

to 

Graumann's  Chinese 

For  Good   Projection 
It's   Hurley  All  the  Way 

HURLEY  SCREEN  COMPANY,  INC. 

96-17  Northern  Blvd.,  Corona,  N.Y.C. 
(See  your  theatre  supply  dealer) 


CREATE  THE   RIGHT  MOOD   EVERY  TIME  WITH   THE 

Major  Mood  Music  Library 

MAJOR  offers  you  a   full   forty-five  hours  of  mood  music  for 

titles,   bridges,   backgrounds. 

Write  for   Free   Catalogue 

THOMAS  J.  VALENTINO,  INC. 

Established    1932 
150  West  46th  Street         CI  6-4675  New  York  36,  N.  Y. 


metal,  as  the  ventilating  system  is 
located  in  the  lower  front  of  the 
rectifier. 

The  M115RTK2  miniaturized  Kni- 
Tron  silicon  rectifier  is  housed  in  a 
rectangular  steel  case,  designed  to  set 
adjacent  the  lamphouse  pedestal, 
providing  "on  the  spot"  current  ad- 
justment, eliminates  wiring  and 
direct  current  line  losses. 

The  rectifier  consists  primarily  of 
three  transformers,  an  R-1325  (480 
amp. )  Silicon  Stack,  a  filter  capaci- 
tor, blower  type  ventilating  system, 
one  control  panel  for  wide  range 
current  adjustment  and  voltage  con- 
trol, one  fine  current  control  panel, 
and  a  three  pole  relay. 

On  a  panel  behind  a  hinged  door, 
in  the  left  side  of  the  rectifier,  are 
the  wide  adjustment  and  voltage 
control  taps.   A  heavy  duty  three-pole 


Send 

for  complete 

information 

NATIONAL  STUDIOS 

42  West  48  Street,  NYC 


12 


International  Projectionist        March,  1965 


relay  is  also  affixed  to  the  panel. 
Removal  of  the  side  panel  exposes 
entire  internal  construction.  Fine 
current  adjustment  taps  are  con- 
veniently located  on  a  panel  directly 
under  a  hinged  door  in  the  rectifier 
top. 

An  automatic  arc  striking  current 
minimizer  is  furnished  with  each 
rectifier,  but  not  incorporated  in  the 
same  housing.  It  limits  striking  cur- 
rent to  no  more  than  full  load  current 
of  the  arc;  also  greatly  minimizes 
reflector  and  positive  carbon  crater 
damage.  The  silicon  stack  is  easily 
accessible  should  removal  be  neces- 
sary. Diodes  employed  in  the  stack 
are  far  in  excess  of  the  required 
rating  and  failures  are  rare,  it  is 
claimed. 

Miniaturization   has   reduced   ship- 


J 


The  new  method  of  ventilation  in  the 
Kncisley  unit  (see  above  and  on  facing 
page)  saves  on  heat  loss  and  conse- 
quent higher  operating  costs. 

ping  weights  considerably,  which  will 
be  reflected  in  shipping  costs.  \\  rite 
the  Kneislev  Electric  Co..  P.  0.  Box 
1506.  Toledo.  Ohio.  43603,  for  full 
details.  iP 

James  Brennan  Dies 

NEW  YORK— A  Solemn  Requiem 

Mass  was  held  for  James  J.  Brennan. 
80.  first  vice  president  of  the  Inter- 
national Alliance  of  Theatrical  Stage 
Employees,  at  St.  Pauls  Church. 
Ramsey.  N.  J.  He  died  after  an  ill- 
ness of  several   weeks. 

A  native  of  Brooklvn.  i\".  Y..  Mr. 


Brennan  entered  show  business  as  a 
horseback  rider  at  New  York's  old 
Hippodrome  Theatre  when  it  opened 
in  1905.  Three  years  later,  he  helped 
form  the  Theatrical  Clearers  Protec- 
tive Union,  and  in  1914  he  became 
a  members  of  New  York  Stage  Em- 
plovees  Local  No.  1.  He  served  seven 
terms  as  president  of  that  union  and 
helped  negotiate  many  of  its  con- 
tracts. 

Mr.  Brennan  was  elected  an  IATSE 
international  vice  president  for  the 
first  time  in  1934.  and  since  1935 
he  had  been  on  the  staff  at  the  organ- 
ization's general  office  in  New  York, 
handling  the  placement  of  stage  crews 
with  road  shows  and  other  legitimate 
theatre  assignments.  He  was  chair- 
man of  the  grievance  committee  at 
many  of  the  union's  conventions.  He 
is  survived  by  his  widow,  two  dau- 
ghters and   three  sons. 

iP 

Tri-State  Association 
Of  I A  Plans 
Erie  Convention 

MORGANTOWN.  WEST  VIR- 
GINIA —  The  Tri-State  Association 
of  IATSE  and  Motion  Picture  Opera- 
tors, covering  projectionists  in  West- 
ern Pennsvlvania.  Eastern  Ohio  and 
West  Virginia,  will  hold  the  41st 
Convention  of  the  Association  in 
Erie.  Pennysvlvania.  Sundav.  June 
6.  1965. 

Chairman  of  arrangements  is 
George  F.  Thompson.  Business  Agent 
and  Secretary  of  Erie  Theatre  Em- 
ployees Local  B-187. 

Also  hosting  the  Annual  Meeting 
will  be  members  of  Stage  Employees 
Local  113  and  Moving;  Picture  Ma- 
chine Operators  Local  621.  Addi- 
tional details  can  be  obtained  from 
Richard  J.  Herstine.  Secretary- 
Treasurer  of  the  Tri-State  Associa- 
tion. 1157  Des  Moines  Avenue,  Mor- 
gantown.  West  Virginia   26503. 

iP 


HEYER-SHULTZ 
METAL  REFLECTORS 

Top  Screen  Illumination 

Will  Not  Break,  Pit  or  Tarnish 

No  Replacement  or  Spare  Reflectors  Required 

See  your  dealer  or  write  for  full  particulars 
Manufactured  By  HEYER-SHULTZ,  Inc.,  Cedar  Grove,  N.  J. 


International  Projectionist        March.  1965 


•3f 

look 

into 

Stewart 

Film  screens 

•  •  •  the 

choice 

of 
experts 


► 


► 


FILMSCREENS  FOR  SHOWMEN-Stew- 

art  Projection  Screens— the  choice  of. 
15  major  exhibitors  at  the  New  York 
World's  Fair! 

OLTRAMATTE  — for  commercial  play- 
houses, theatre  TV,  viewing  rooms  ■ 
Seamless  to  46  by  88  feet  ■  Optical 
efficiency  ■  Durable  economy. 
LUXCHROME  50- seamless  rear  pro- 
jection ■  Superior  image  contrast  in 
lighted  rooms. 


FILMSCREENS  FOR  FILM  PRODUCERS 

-used  by  CBS  Studio  Center,  Colum- 
bia, Oesilu,  Disney,  Fox,  Goldwyn, 
MGM,  Paramount,  Revue,  UPA,  Uni- 
versal, Warners. 

HI-TRANS -Academy  Award,,  back- 
ground screen-highest  calibre 
production  "tool." 

ULTRAMATTE  gain  white,  and  LUX- 
MATTE  white  matte-front  projection 
screens  ■  Demanded  by  studios  and 
film  labs  for  viewing  during  produc- 
tion, dubbing,  and  scoring. 
T-MATTE  BLUE -rear-illuminated 
screen  for  latest  traveling-matte 
process  ■  Practical  for  large  and 
small  sets,  major  productions,  or  TV 
commercials. 


FILMSCREENS  FOR  TV  PRODUCTION 

TV-BLUE-background  screen  ■ 
Favorite  of  networks  ■  Versatile  ■ 
Efficient. 

LUXCHROME  60- neutral  gray  screen 
for  closed-circuit  techniques,  back- 
grounds and  rear  projection  viewing. 


FILMSCREENS  also  designed  for  A-V, 
fairs,  trade  shows,  exhibits,  simula- 
tors, plotting  and  display  systems,  and 
special  architectural  requirements. 


STEWART  FILMSCREEN  CORP. 

1161  W.Sepulveda  Blvd. 
Torrance,  Calif.  90503  (213)  326-1422 

I  want  to  look  further  into  Stewart  Film- 
screens.  Please  send  me  additional 

information  on: 

NAME 

STREET 

CITY 


STATE . 


4 


4 


13 


THE  NEW 

TECHNIKOTE 

SCREEN 

.  .  .  The  anti-static  pearlescent  screen 
that  excels  for  both  35mm  and  70mm. 


USED  FOR- 


*MY  FAIR  LADY" 

CRITERION  Theatre-N.Y.  Cily 


and  • 


"The  SOUND  of  MUSIC" 

RIVOLI  Theatre-N.Y.  City 


Years  of  research,  testing  and  development 
have  brought  Technikote  Screens  to  a  state 
of  perfection  which  will  meet  the  most 
exacting  projection  requirements. 

Technikote  Screens  are  seamless  in  con- 
struction, have  perfect  uniformity  of  surface 
and  will  give  the  finest  results  for  all  systems 
of  projection  .  .  .  and  are  unconditionally 
guaranteed. 

TECHNIKOTE  CORP. 

63  Seabring  St.,  Brooklyn,  N.  Y.  11231 

• 

EXPORT-AMITY  INTERNATIONAL 

DISTRIBUTORS-AMITYVILLE    N.  Y. 


America's 
headquarters 

for  all 
theatre  equipment 


supplies 


National 

THEATRE  SUPPLY  COMPANY 


George  J.  Flaherty 
Of  IA  Elected  to 
Hollywood  Canteen 

HOLLYWOOD— Miss  Bette  Davis, 
president  of  the  Hollywood  Canteen 
Foundation,  announced  that  gifts, 
pledges  and  allocations  exceeding 
$70,000  were  made  by  the  trustees 
at  its  annual  meeting  held  on  March 
9.  1965. 

The  principal  beneficiaries  of  this 
year's  commitment  are  pledges  of 
$25,000  to  the  building  fund  of  the 
Cedars  -  Mount  Sinai  Hospitals, 
$10,000  to  the  American  Legion 
Rehabilitation  Department,  and 
$5,000  to  the  Variety  Club  of  South- 
ern California.  The  Foundation  also 
authorized  payments  of  previous 
commitments.  $25,000  to  the  Regents 
of  the  University  of  California, 
$2,500  to  the  Portals  House  and 
$1,000  each  to  the  Nursery  School 
for  visually  handicapped  children,  the 
John  Track  Clinic  and  the  52  associ- 
ates of  Southern   California. 

The  Hollywood  Canteen  Founda- 
tion is  an  outgrowth  of  the  Holly- 
wood Canteen  which  was  originally 
formed  by  42  unions  and  guilds 
within  the  amusement  industry  to 
entertain  the  members  of  the  armed 
forces  during  World  War  II.  Its  ori- 
ginal source  of  income,  besides  gifts, 
resulted  principally  from  the  produc- 
tion of  two  motion  pictures.  "Stage 
Door  Canteen"  produced  by  Sol  Les- 
ser, and  "The  Hollywood  Canteen" 
produced  and  released  by  Warner 
Brothers. 

The  original  fund  transferred  to 
the  trustees  upon  the  closing  of  the 
Canteen  at  the  termination  of  the  war 
approximated  $500,000.  By  invest- 
ment and  reinvestment  of  its  funds, 
the  trustees  have  been  able  to  make 
gifts  or  pledges  exceeding  three- 
quarter  millions  of  dollars  since  that 
time  and  Jules  Stein,  chairman  of  the 
finance  Committee,  stated  that  the 
market  value  of  its  funds  presently 
exceeds  $1,300,000,  all  of  which  is 
invested  in  marketable  securities  in- 
cluding common  stocks,  bonds  and 
savings  accounts. 

George  J.  Flaherty,  international 
vice  president  of  the  IATSE  was 
elected  to  succeed  the  late  B.  C. 
"Cappy"  Duval.  In  addition  to  Miss 
Davis  and  Jules  Stein,  the  other 
trustees  are  Ralph  Clare,  Baron 
Morehead,  John  Tegroen  and  Lew 
Wasserman. 

iP 


Wolk  Acquires  RCA's 
Replacement   Inventory 

Acquisition  of  the  Radio  Corpora- 
tion of  America's  inventory  of  re- 
placement parts  for  RCA  theater 
sound  equipment  has  been  announced 
by  Edward  H.  Wolk,  Inc.,  of  Chicago, 
supplier  of  replacement  parts  for  the 
motion    picture    industry. 

The  agreement  was  concluded  by 
A.  J.  Piatt,  manager  of  distributor 
sales  for  RCA.  and  Charles  Wolk, 
president  of  the  Chicago  firm.  It  also 
gives  Wolk  rights  related  to  the 
manufacture  of  the  replacement 
parts. 

Wolk  said  his  company  had 
arranged  to  acquire  RCA  tooling  and 
would  manufacture  and  inventory 
parts  for  the  sound  systems.  The 
Wolk  company  also  is  the  source  of 
replacement  parts  for  RCA  35mm 
projectors. 

iP 

Growing  Competition 
From  16mm  Showings 
Noted  by  Theatres 

CEDAR  RAPIDS— Roy  Metcalfe, 
president  of  Iowa  Allied  Independent 
Theatre  Owners,  has  cautioned  the 
industry  against  the  mounting  prob- 
lem of  competition  from  16mm  films 
being  shown  in  schools,  colleges  and 
churches. 

Cornell  College.  Mount  Vernon. 
Iowa,  played  "Flower  Drum  Song" 
for  an  admission.  This  was  in  direct 
competition  with  the  theatre  at  Mount 
Vernon,  which  was  playing  "The 
Outrage." 

He  stressed  that  16mm  "is  a  big 
business  in  the  number  of  playdates 
by  which  anybody  can  get  into  show 
business  by  the  back  door  .  .  .  Just 
why  schools  and  colleges  wish  to  get 
into  our  business  is  anybody's  guess. 
My  understanding  is  that  film  com- 
panies send  a  questionnaire  to  an 
organization  that  there  is  not  any 
theatre  in  the  town  or  city  these  films 
are  to  be  shown." 

Metcalfe  noted  that  the  First 
Unitarian  Church  in  Des  Moines 
showed  "Pepe"  at  an  admission  of  $1 
for  adults  and  50  cents  for  children. 
"Just  how  long  can  this  situation 
last?"  he  asked.  "For  many  small 
theatres  the  worry  is  over.  They're 
closed.  Some  small  towns  finding- 
out  their  loss  are  attempting  to 
reopen  theatres  with  the  aid  of  the 
Chamber  of  Commerce  or  other 
groups,"  he  said. 

iP 


14 


International  Projectionist        March.  1965 


Sound  Track 


by  J.  G.  Jackson 


A  Proposed  Standard  for  Studios 
and  Theatres 


Bv   B.   A.   Nixon 


1.  A  Standard  (Squeeze)  2  to  1  Image 
for  35mm  Print  (.96S"x.895"). 

2.  A  Standard  Image  Height  of  5 
Sprocket  Holes  Per  Frame  (35mm 
and  70mm). 

3.  A  Standard  Magnetic  Sound  Repro- 
duction and  Speed  22-1/2"  Per 
Second  (35mm  and  70mm). 

4.  A  Standard  Screen  Ratio — 2.12  to  1 
(35mm  and  70mm). 

I  he  attenti\e  proposal  would  result 
in  practical  advantages  for  the  in- 
<lu?tr\.  Also  mindful  of  a  minimum 
expenditure  in  time  and  financial 
outlas  to  am  one  phase  of  the  in- 
dustry;    initiator)    <>r    other\\i»<- 

I  he  dimensions  of  the  drawing  i~ 
ol  close  proximitj  and  feasible  as  to 
the  intention  for  the  described  stan- 
dards numbered  1  to  1.  The  neces- 
sar\  exact  measurement?  would 
natural!)  be  at  the  discretion  of  the 
Societv  of  Motion  Picture  and  Tele- 
\  ision    Knjnneers. 


I  he  implication  of  a  20'  <  increase 
in  35mm  film  stock  required  for  final 
prints  ma\  appear  startling;  hut  the 
aihantages  and  elimination  of  man\ 
COStlj  and  time-consuming  existing 
processes,  would  more  than  offset  this 
increase:  such  as  eliminating  of 
various  ratios,  which  in  a  majority 
of  existing  prints  is  a  stock  wasting 
and    time-consuming    process. 

Elimination  of  the  antiquated 
optical  track  and  its  main  time-con- 
suming    processes. 

Having  a  unified  speed  in  all  mag- 
netic prints  1 35mm  and  70mm  i 
eliminates   varied   processes  also. 

The  image  aperture  I  .%8"  to 
.895"  J  being  identical  height  of 
70mm  .895",  it  eliminates  man\  pro- 
blems such  as  sound  transfering  to 
print:  printing  down  from  70  to 
35mm,  nr  vice  \ersa:  sets  a  uniform 
height  for  theatre  screen  and  elimin- 

i  Please  turn   to  page   18) 


PROJECTOR 
CARBONS 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF   CARBON  CORP.    East  McKeesport.  Pa 


MOVING? 

Be  sure  to  send  IP  the  label 
from  the  cover  of  your  Inter- 
national Projection- 
ist as  soon  as  you  have 
your  new  address.  Please  al- 
low  five   weeks  for  change. 

INTERNATIONAL 
PROJECTIONIST 

1645    Hennepin    Ave. 
Minneapolis,    Minnesota    55403 


..  * .  '.>.'.- 


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2  to  1   Squeeze  Image  .968"  x  .895" —  Screen  Ratio  2.12  to  1 
International  Projections         March.  1965 


Projectionists 

who  like  quality 

always  use  the  best 


Star 

Film    Cement 

Sold  by  Supply  Dealers 

Send  for  FREE  Sample 

ACE  CHEMICAL  CO. 

■  (Division  of  the 
Ace    Electric  Mfg.   Co.) 

1923    Bay    Road 
Miami  Beach,  Florida 


15 


Four  Marketing  Appointments 
Announced  by  Eastman  Kodak 


Four  Eastman  Kodak  appointments 
ment  of  its  photographic  marketing  org 
B.  Zornow,  vice-president,  marketing. 

Charles  L.  Resler  was  appointed 
sales  manager  of  the  consumer  mar- 
kets division.  He  was  formerly  di- 
rector of  sales  of  the  Apparatus  and 
Optical  Division. 

William  A.  Sawyer,  former  gen- 
eral manager  of  the  Northeastern 
Sales  Division,  was  appointed  sales 
manager  of  the  professional,  com- 
mercial, and  industrial  markets  di- 
vision. 

Resler  and  Sawyer  will  serve  on 
the  company's  Marketing  Council, 
along  with  the  general  managers  of 
the  marketing  divisions  and  the  di- 
rectors in  the  marketing  organiza- 
tion that  were  announced  at  the  end 
of  November. 

Dr.  Norwood  L.  Simmons,  former 
general  manager.  West  Coast  Divi- 
sion, Motion  Picture  Products 
Sales,  was  appointed  general  man- 
ager of  the  Northeastern  Sales  Divi- 
sion,   succeeding    Sawyer. 

C.  Ray  Troutner.  former  sales 
manager,  amateur  products.  Midwest- 
ern Sales  Division,  was  appointed 
general  manager  of  the  Middle  Atlan- 
tic Sales  Division,  succeeding  Wil- 
liam S.  Allen,  who  was  recently 
named  general  credit  manager  of 
Kodak. 

Resler,  a  graduate  of  the  Univer- 
sity of  Rochester,  has  been  associ- 
ated with  Kodak  since  1930  when 
he  joined  the  company's  training 
program.  After  varied  assignments 
at  Kodak  Office,  he  transferred  to 
stores  in  Boston,  then  in  Pittsburgh. 

Sawyer,  a  1937  graduate  of  Po- 
mona College,  attended  the  Harvard 
Graduate  School  of  Business  and 
joined  Kodak  in  1938  as  a  trainee. 
After  various  assignments  he  trans- 
ferred to  the  sales  service  depart- 
ment in  1939.  He  was  commissioned 
in  the  U.  S.  Navy  in  1941  and 
served  for  the  duration  of  the  war. 

Dr.  Simmons  joined  Kodak  in 
1937  and  for  the  next  four  years  was 
associated  with  the  Company's   film 


related  to  the  company's  rearrange- 
anization  were  announced  bv  Gerald 


manufacturing  operations  at  the 
Kodak  Park  Works  in  Rochester. 
N.  Y.  In  1941  he  moved  to  the  West 
Coast  Division  of  the  motion  picture 
products  sales  department.  He  held 
successive  engineering  and  mana- 
gerial posts  and  was  appointed  gen- 
eral manager  of  the  division  in  Janu- 
ary,  1964. 

Born  in  Washington.  N.  C,  Dr. 
Simmons  received  a  B.  S.  degree 
from  the  University  of  North  Caro- 
lina in  1933.  an  M.  S.  degree  from 
the  California  Institute  of  Tech- 
nology in  1935,  and  a  Ph.D.  degree 
at  North  Carolina  in  1937. 

Troutner  is  a  graduate  of  Dart- 
mouth College.  He  joined  Kodak  in 
1938  and  filled  various  assignments 
in  training  and  at  Kodak  stores.  In 
1939-40  he  worked  for  two  seasons 
at  the  Kodak  Exhibit  at  the  New 
York  World's  Fair  and  then  be- 
came a  sales  representative  in 
Pennsylvania. 

He  served  with  the  U.  S.  Air  Force 
during  World  War  II.  On  his  return 
to  Kodak  in  1946  he  joined  the 
sales  force  in  Pennsylvania  and 
later  in  Ohio.  iP 

New  Tool  Solves 
Maintenance   Clutter 

Because  of  the  neatness  of  peg- 
board  racks  in  the  projection  booth, 
the  drive-in  maintenance  storage 
area  and  the  like,  projectionists  and 
theater  operators  generally  will  be 
interested  in  the  "Wire  Former"  by 
M  &  W  Manufacturing  Co.,  1950 
Sheridan  Road.  North  Chicago.  111. 
60064. 

This  is  a  hand  tool  of  case-hard- 
ened metal  for  making  peg-board 
hooks,  self  hangers  and  holders  for 
use  in  the  projection  booth,  work- 
shop or  for  personal  use. 

The  equipment  shapes  with  pre- 
cision any  wire  or  cold  rolled  rod 
up  to  5/32"  in  diameter,  makes  eyes 


This  is  the  Wire  Former,  a  handy 
tool  for  projectionists  in  making  peg- 
board  tool  storage  panels  to  end  pos- 
sible   clutter   in   the   projection   booth. 

with  3/16"  inside  diameter,  to 
make  convenient  anchoring  to  a 
wall  with  screws  or  nails,  if  peg- 
board  types  are  not  suitable. 

With  its  own  built-in  cutter,  it 
bends  wire  right  and  left,  forming 
any  angle,  arc  or  circle  or  straight- 
ening mistakes  made.  The  equipment 
may  be  ordered  from  the  manufac- 
turer for  S3. 98.  Galvanized  steel  wire 
of  9  gauge  .148  diameter,  or  hard- 
ened aluminum  wire  5/32"  .156  di- 
amater  is  also  available  from  M  &  W. 

iP 


CORRECTION 
In  the  September  issue  of  Inter- 
national Projectionist,  it  was  inad- 
vertently stated  that  the  copper 
drippings  program  was  started  by 
president  Morris  I.  Klapholz  of  the 
25-30  Club  Inc.,  a  New  York  organi- 
zation of  motion  picture  projection- 
ists. The  statement  was  in  error:  the 
originator  and  founder  of  the  cop- 
per drippings  program,  which  is 
now  being  used  all  over  the  U.  S. 
for  the  Will  Rogers  Memorial  Hospi- 
tal, was  Morris  J.  Rotker.  Mr.  Rot- 
ker  has  been  presented  with  many 
commendations  for  his  efforts  in  this 
drive  as  well  as  a  statuette  of  Will 
Rogers  for  his  creativeness.  Mr. 
Rotker  is  now  Recording  and 
Corresponding  Secretary  of  the  25- 
30  Club,  Inc.,  and  was  the  General 
Chairman  of  the  Silver  Anniversary 
Banquet  of  the  organization  held  at 
New  York's  Hotel  Empire  in  Janu- 
ary. iP 


CARBON  ARCS       .   .  FOR  FINEST  PROJECTION 

Jloxsutine  /lie  GoaM&kA 


division 

Brighter  Light  on  Screen 

•    Longer  Burning  per  Carbon 
•  More   Economical 


.    .    .    Compact  Xenon  Arcs 

division  — 

Xr-moss  LAMPH0USES  •  "X^tvzcw   POWER  SUPPLIES 


\       CARBONS,    INC.  BOONTON,    N.J.       1 


16 


International  Projectionist         March.  1965 


Motion  picture  projectors  in  storage  and  ready  for  shipment  from  the  new 
Norelco  installation.  That's  an  Academy  Award  model  in  the  foreground,  re- 
ceiving final  checks  before  crating  for  shipment. 

New  Norelco  Operations  Center  in 
New  York  Speeds  Parts  Shipments 


In  order  t<>  provide  Norelco  pro- 
jector users  and  dealers  with  fast 
delivery  and  service  <>n  motion 
picture  projectors  and  sound  equip- 
ment, North  American  Philips  Co.. 
Inc.  recentl]  transferred  warehousing 
and  shipping  operations  to  a  large 
new  building  at  30-10  Review  Ave.. 
Long  Island  City.  On  the  roof  of 
the  structure,  one  of  the  largest  signs 
in  the  metropolitan  area  flashes 
time,  temperature,  and  product  an- 
nouncements in  the  direction  of 
Manhattan  throughout  the  da)  and 
night. 

The  new  operations  center  provides 
100.000  sq.  ft.  of  space  at  ground 
level  plus  111.000  sq.  ft.  on  the  mez- 
zanine for  offices.    Now.   under  one 


roof,  the  company  maintains  a  large 
Stock  of  spare  parts  and  complete 
units  which  are  reads  for  shipment 
at  short  notice.  Around-the-clock 
shipments  of  stock  items  are  gener- 
all\  made  on  the  same  day  and 
always  within  21  hours  after  the 
order  is  received.  This  applies  to  the 
Vadeim  Ward  Model  Wll 
70  35mm  projector,  as  well  as  to  all 
other  Norelco  theatre  t\  pes.  audio- 
visual and   tele-cine   units. 

Norelco  projectors  are  used  in  all 
major  Holhwood  studios  and  l>\ 
theatres  in  35  states.  The  inventory, 
consisting  of  more  than  a  thousand 
parts  and  sub-assemblies,  is  constant- 
ly reviewed  and  amended  as  usage  of 
Norelco   projectors  expands.  iP 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Morion    Picture    Equipment    Division 
100    E.   42nd   St.,    New   York    17,   N.Y. 


America's 
headquarters 

lor  all 
theatre  equipment 


supplies 


*W»  mm  mmW 


National 

THEATRE  SUPPLY  COMPANY 


The  sign  atop  the  Norelco  ware- 
house can  be  seen  for  miles,  reporting 
time,  temperature  and  Norelco  prod- 
uct messages. 

International  Projectionist         March,  1965 


THE  VERY  FINEST 


PROJECTOR  PARTS 


SINCE    1908 


The  ultimate  in  precision,  long  life  and  dependability— 
they  keep  projectors  in  top  operating  condition  essential 
to  good  pictures,  patron  satisfaction  and  good  business. 
Available  through  your  Theatre  Equipment  Dealer. 


MACHINE   WORKS 

4635  W.  LAKE  ST.,  CHICAGO  44,  ILL. 
TELEPHONE— AREA  312— ES  8-1S36 


17 


New  proposed  film  standard 


Continued  from  page  15 


ates  the  changing  of  lens  in  a  pro- 
jector for  either  70  or  35mm,  only 
requirement  is  the  addition  of  the 
presently  used  C/S  attachment  lens 
tor  35mm  print. 

The  width  of  the  35mm  print 
would  be  .968"  for  the  picture 
image;  this  can  be  accomplished  by 
elimination  of  the  antiquated  optical 
sound  track,  also  the  elimination  of 
the  magnetic  effects  sound  track, 
which  is  of  marginal  value  in  any 
case.  This  brings  the  image  width  to 
V-2  the  width  of  a  70mm  image  and 
using  a  squeeze  image  2  to  1  ratio. 
It  will  expand  with  C/S  attachment 
to  the  same  width  as  70mm.  By  con- 
forming to  same  screen  ratio  it  elim- 
inates various  ratio  screen  maskings; 
a  25%  increase  in  definition;  full 
use  of  spot  from  light  source  and 
superior  sound  from  all  prints. 

With  the  elimination  of  all  the 
outdated,  time-consuming,  costly  pro- 
cesses the  path  is  cleared  to  simplify 
and  unify  all  printing;  both  picture 
image  and  sound.   Every  phase  of  the 


OUT  OF  PRINT 

MITCHELL  MANUAL 

AVAILABLE! 

The  renowned  "Manual  for 
Practical  Projection"  by  Robert  A. 
Mitchell  is  now  out  of  print,  ac- 
cording to  an  announcement  by  the 
bookseller.  International  Projec- 
tionist. 

Returns  from  our  retail  outlets 
have  been  consolidated  and  we 
now  have  approximately  40  vol- 
umes of  the  Mitchell  Manual  avail- 
able on  a  first-come-first  served 
basis. 

These  books  are  in  brand  new 
condition,  complete  with  dust 
jackets;  have  never  been  used. 
This  rare  publication  can  be  yours 
for  $10  cash  or  money  order. 
Sorry,  no  C.O.D.  or  foreign  orders 
can  be  accepted  at  this  price. 

Sheehan    Booksellers 

P.O.  Box  6174 
Minneapolis,  Minn.    55424 


industry  will  benefit,  including  the 
most  important  persons  —  the 
patrons. 

The  requirement  of  parts  in  the 
theatre  for  this  change  of  image  ratio 
and  sound,  would  be  (2)  magnetic 
sound  heads;  (6)  sprockets;  (2) 
modified  gate  assemblies;  (2)  modi- 
fied intermittent  brackets  to  accom- 
modate the  large  sprocket  should  any 
exhibitor  initially  choose  to  eliminate 
stereo  sound  equipment,  only  a 
matching  transformer  with  three  pri- 
mary windings  to  one  output,  and 
a  pre-amplifier  would  suffice,  and 
could  carry  on  with  the  existing 
monoral   amplifier  and   speakers. 

Theatres  now  possessing  stereo 
equipment,  their  requirements  for 
parts  would  be  less.  Th  changeover 
to  this  proposed  standard  would  be 
gradual,  from  the  first  run  down  the 
line  to  a  final  run  in  theatres,  cover- 
ing a  period  of  18  months  to  two 
years;  thus  it  would  alleviate  a 
large  demand  for  parts  required  in 
theatres  at  any  one  time,  keeping 
prices  stable. 

Should  any  exhibitor  find  it  neces- 
sary to  change  back  to  the  existing 
ratio  the  time  limit  and  effort  would 
be  of  no  consequence. 

Since  the  advent  of  CinemaScope 
in  1953,  many  theatres  should  re- 
quire a  change  of  sprockets  and  etc. 
at  this  date,  in  any  event.  The  total 
expenditure  to  accommodate  the  new 
image  would  be  very  modest  in 
return  for  benefits  received  and  up- 
dating equipment  for  future  use. 

It  has  been  stated  throughout  the 
industry  that  70mm  prints  outlast  the 
present  35mm  print  by  many  dozens 
of  runs.  The  proposed  35mm  print 
being  basically  identical,  it  would  be 
expected  to  last  for  increased  runs 
also. 

Submitted  for  the  benefit  of  the 
motion  picture  industry  and  to  the 
Society  of  Motion  Picture  and  Tele- 
vision   Engineers    for    consideration, 


INTERNATIONAL  PROJECTIONIST 

1645    Hennepin   Ave. 
Minneapolis   34,   Minnesota 


Enter   my    subscription    for 


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corrections  and  adaptation  for  stan- 
dardization. 

Sincerely, 
B.  A.  NiXON, 
Eox  Cinema, 
Victoria,    B.    C,    Canada 
/.  G.  Comments: 

Ihe  proposed  standards  suggested 
by  brotner  INixon  is  something  that 
should  be  given  careful  consideration 
by  the  industry  as  a  whole. 

this  plan  would  once  and  for  all 
eliminate  the  hodge  podge  that  exists 
in  the  projection  room  at  this  time, 
such  as  the  changing  of  lenses,  aper- 
tures and  screen  masking. 

With  this  the  audience  would  see 
a  full  screen  picture  at  all  times, 
with  no  change  of  aspect  ratio.  Also 
the  picture  definition  or  focus  would 
be  improved  due  to  the  larger  film 
image  and  the  sound  would  be  better 
due  to  the  extra  quality  obtained 
from    magnetic     recording. 

As  brother  Nixon  points  out,  the 
changes  to  the  projector  would  be 
of  a  minor  nature.  Ihe  writer  at  this 
time  sees  two  more  slight  changes 
required  for  the  larger  film  aperture. 
One  is  that  a  larger  spot  would  be 
needed  to  cover  the  larger  aperture, 
which  has  an  increase  of  25%  in 
depth. 

In  many  cases  this  may  be  obtained 
by  moving  the  lamphouse  back  a  few 
inches  and  repositioning  the  carbons 
to  a  new  focal  point  to  obtain  a 
greater  magnification  of  the  arc 
crater.  I  am  not  at  this  time  pre- 
pared to  say  just  how  flexible  the 
present  arc  mirrors  are  in  this  res- 
pect. I  do  however  doubt  if  it  could 
be  done  with  the  Jet  Arc  mirrors  as 
they  are  of  special  design  and  do  not 
use  the  common  elliptical  curve  as  do 
the  conventional  lamps.  Perhaps  the 
manufacturers  will  comment  on  this. 

Also  a  new  prime  lens  will  be  re- 
quired with  the  present  anamorphic 
since  the  aperture  is  25%  oversize  in 
depth  and  not  many  theatres  could 
increase  the  screen  dimension  to  this 
extent,  hence  a  longer  focus  prime 
lens  will  be  a  must  in  most  cases. 

All  these  of  course  are  only  minor 
details,  and  would  not  stand  in  the 
way  of  conversion  to  the  new  pro- 
posed  standard. 

I  heartily  endorse  brother  Nixon's 
proposals  and  1  hope  the  industry 
will  give  it  a  good  hard  look,  and  not 
just  shrug  its  shoulders  as  it  so  often 
does  when  suggestions  are  made  for 
improvements. 

I  would  be  glad  to  hear  from  read- 
ers with  comments  pro  and  con  on 
this  subject,  and  I  know  Mr.  Nixon 
has  also  solicited  comments  from 
individuals    or    organizations. 

J.GJ. 


18 


International  Projectionist        March,  1965 


basic 
mathematics 

by  NORMAN  H.  ClOWHURtT 


PRACTICAL 
METHOD 


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VOLUMES 
1  through  4 
COMPLETE 

ROM  (OUNTINt 

TMIOUGH  CALCULUS 

A  HOOttN 

UMfHI  AfftOACM 

to  mathematics 
ambits  usb 


IT 


LEARMPNG 


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by  Norman  H.  Crowhurst 

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Available  at  parts  distributors,  bookstores,  or  direct. 


INTERNATIONAL    PROJECTIONIST 
164S   Hennepin    Avenue,   Suite  212 
Minneapolis,    Minnesota    55403 

Please   send    these    paperback   volumes: 

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Name 
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Investment  Opportunity 


The  tools  this  young  apprentice  is  learning  to  make  will 
one  day  be  used  to  turn  out  your  company's  products. 

A  great  investment  in  time,  money,  effort  and  faith 
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of  us  has  a  stake  in  his  success — and  every  one  of  us 
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INTERNATIONAL 

PROJ  ECTIONIST 


Volume  40         April,  1965         No.   4 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment   Editor 


RAY   GALLO  ASSOCIATES 

National    Advertising    Repres«ntatives 

545    Fifth   Avenue.    New   York,    N.  Y„    10017 

Telephone    Murrayhill    7-7746 

(Area   Code   212) 


IN  THIS  ISSUE 

The  8mm  Situation 
Projection  Room  Dust  Control 
Southland's  New  Drive-In 
Kodak's  8mm  System 


4 

6 

10 

13 


News    Notes  —  Technical    Hints  —  Miscellaneous    Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
International  Projectionist  Publishing  Co.  division  of  The 
Northern  Publishing  Co.,  Post  Office  Box  6174,  Minneapo'is 
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copyrighted  1965  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 

International  Projectionist        April,  1965 


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Volume  40 


April,  1965 


Number  3 


A  report  on  the  future  .  .  . 


Several  varieties  of  8mm  spell 
opportunity,  but  also  problems,  for 
the  professional  projectionist 


The  International  Motion  Picture 
and  Television  Committee,  motion 
picture  equipment  manufacturers, 
film  producers  and  representatives 
of  the  Ministry  of  National  Educa- 
tion recently  attended  a  Continental 
symposium  on  a  new  8mm  film  size. 

Audio-visual  education  is  con- 
stantly being  extended  to  new  fields, 
in  particular  that  of  educational 
motion  picture  which  is,  by  far,  its 
most  important  aspect.  In  the  latter 
field,  16mm  sound  film  has  been 
used  for  a  long  time  and  before 
World  War  II  the  Institute  Pedagogi- 
que  National  had  already  conceived 
and  enforced  rules  for  testing  pro- 
jectors for  teaching. 

4 


8mm    Sound    Film 

However,  while  16mm  sound  film 
was  standing  out  in  audio-visual  edu- 
cation, many  professors  (in  applied 
sciences,  in  particular)  were  becom- 
ing keen  promoters  of  8mm  film, 
which  enabled  them  to  show  their 
own  work  to  their  pupils. 

Then,  three  years  ago,  8mm  film 
prints  obtained  by  a  reduction  pro- 
cess with  magnetic  track  between 
sprocket  holes  and  film  edge  were 
introduced.  The  outstanding  results 
achieved  immediately  induced  manu- 
facturers to  start  designing  conven- 
tional type  8mm  sound  projectors. 

The  most  recent  achievements  were 
shown  at  the  Photokina  in  Koln  and 
the  Salon  Photo-Cinema  in  Paris 
where  many  types  manufactured  in 
particular  in  the  United  States,  Ger- 


many, Japan,  Italy  and  France  were 
exhibited. 

Magazine  Type   Projector 

As  a  matter  of  fact,  this  promo- 
motion  of  8mm  film  as  an  audio- 
visual aid  led  teachers  to  ask  for  a 
high  quality  automatic  projector  do- 
ing away  with  the  inconvenience  and 
loss  of  time  caused  by  the  setting  up 
of  a  projector  unit  of  conventional 
design. 

A  magazine  projector  was  de- 
signed and  introduced  two  years  ago 
by  Technicolor  Ltd.  (London)  for 
short  silent  filmstrips.  The  members 
of  the  meeting  had  the  opportunity 
of  seeing  a  demonstration  with  an 
American  Fairchild  projector  having 


International  Projectionist        April,  1965 


PROJETS  de  NORME5  FILMS  8  mm  (»$&*») 


Type 
acfuel 


Prqjef 
Kodak 


Projef 
americain 


Projet 
Francais 


.1  magazine  accommodating  up  to 
L50  ft.  of  film,  with  provision  for 
sound  recording  on  magnetic  track. 
An  automatic  ally  loaded  projector 
designed  by  the  American  special- 
ist J.  Maurer  was  also  demonstrated. 
The   New   8mm    Film 

However,  the  attention  given  to 
this  extensive  use  of  8mm  film  was 
bound  to  revive  the  objections  raised 
more  than  10  years  ago  against  a 
film  derived  from  the  16mm  and 
which,  therefore,  had  sprocket  holes 
of  superabundant  section. 

As  earl\  as  Vpril  L941,  in  an 
article  published  in  the  review  "Cine- 
\mateur"  and  entitled  "La  Bataille 
des  Formats  n'est  pas  terminee"' 
i  the  size  quarrel  is  not  over  I .  the 
dejects  of  the  8mm  size  were  stressed. 
showing  the  advantages  which  could 
be  derived  from  the  10mm  size  with 
sprocket  holes  of  smaller  section. 

I  his  basii  project  was  discussed  at 
a  meeting  organized  by  the  Ameri- 
can  SMPTE   with   a   view  to   study- 


in-  the  respective  merits  of  each 
method  proposed  as  a  substitute 
for  the  8mm  size.  \ll  llicse  methods 
were  characterized  by  the  use  of 
smaller  sprocket  holes  than  in  the 
16mm  film: 

— An  8mm  film  with  magnetic 
track  between  holes  and  film  edge 
and  a  pitch  of  1.25mm. 
— Tu<>  8%mm  films  (35  h.  one 
with  a  1.25mm  pitch  and  magnetic 
track  on  picture  edge,  the  other  witli 
a  L75mm  pitch  and  magnetic  track 
between  holes  and  film  edge, 

— An  8mm  film  with  photographic 
track  between  holes  and  film  edge 
and   with  3.81mm  pitch. 

To  face  all  the  methods  proposed, 
the  former  project  of  a  10mm  film 
to  adapt  it  to  new  requirements  was 
proposed,  and  that — in  addition  to 
an  l!mm  film  intended  for  amateur 
use  only —  a  sound  film  size  (with 
optical  or  magnetic  sound  track  at 
option)  he  created  for  audio-visual 
education  purposes. 


At  the  4th  UNIATEC  Congress 
held  in  Moscow  an  interesting  pro- 
posal made  by  Martin  and  Saint- 
Hilaire  again  brought  out  the  "tete- 
beche"  ( head-to-tail )  system  in 
which  two  series  of  opposed  frames 
are  arranged  on  a  16mm  film,  driven 
by  a  single  row  of  central  sprocket 
holes  with  magnetic  tracks  laid  on 
the  external  edges. 

This  system  does  away  with  film 
rewinding,  since  the  projection  of 
the  two  series  of  frames  successively, 
brings  back  the  film  to  the  start  po- 
sition; it  also  eliminates  the  need 
for  a  balance-track. 

Finally,  it  was  announced  that 
Eastman  Kodak,  Inc.,  had  decided 
to  adopt  an  8mm  film  with  narrow 
sprocket  holes  and  a  pitch  of 
4.25mm,  providing  a  frame  area  of 
21  sq.  mm  as  against  14mm,  i.e.  an 
increase  of  50%  in  area  (x  1.2 
linear). 


PROJETS  de  NORMES    FILMS      2x8 mm 


imagesSNfete-beche"  avec  enirainement  central 


International  Projectionist        April,  1965 


^^^ammmmmmmmmmmmmmmmmammmmmammmmmammmm 

Dust  Is  An  Unmitigated  Nuisance.  Here, 
From  An  Expert,  Are  Some  New  Facts 
About  Its  Efficient  &  Economical  Removal. 


The  Projection  Room  And  Dust  Control 


By  Edward  H.  Steinberg 

Executive  Director,  Kex  National  Ass'n. 


No  ONE  IS  BETTER  QUALIFIED  than 
the  man  in  the  projection  room  when 
it  comes  to  testifying  that  dust  is  a 
menance  that  attacks  man  and 
machine  alike. 

Dust  has  proven  an  especially  grave 
problem  to  the  projectionist  —  a 
problem  that  can  threaten  his  health 
and  his  theater's  business. 

Personal  experience  shows  that 
conventional  clean-up  methods  can't 
quite  get  the  dust  job  done.  One 
reason  the  dust  menace  is  more  wor- 
risome in  the  projection  room  than 
in  most  other  places  is  that  the 
projector  creates  its  own  carbon  dust. 

But,  of  course,  carbon  dust  isn't 
all  the  dust  you  encounter.  Dust  is, 
unfortunately,  one  of  the  few  univer- 
sal substances  which  scientists  have 
discovered  everywhere.  They've  found 


AN  END  to  projection  room  dust? 
Dry,  chemically-treated  cloths  and 
mops,  originating  mainly  for  use  in 
hospitals  where  dust-bourne  "staph" 
was  a  serious  problem,  may  have  appli- 
cation in  the  projection  room.  New 
system  really  removes  carbon  dust 
where  conventional  broom  sweeping 
and  wet  mopping  does  not. 


'hitchhiking"  on  shoes  and 


tons  of  it  in  the  atmosphere  above 
the  North  and  South  Poles,  for 
instance.  Dust  is  spread  by  auto 
exhausts,  as  a  by-product  of  heating, 
when  a  cigarette  ash  is  flicked  on  a 
floor.  Whenever  you  or  anyone  else 
enter  the  projection  room,  dust  comes 
in  too 
clothes. 

The  nuisance  value  of  dust  is  so 
obvious  to  the  professional  pro- 
jectionist that  the  point  doesn't  have 
to  be  labored.  It  can  "gum  up"  pro- 
jectors and  other  equipment,  impair 
the  quality  of  exhibition  of  the  film; 
can  be  a  real  health  hazard.  As  the 
National  Safety  Council  has  pointed 
out,  dust  and  dirt  can  infect  cuts  and 
minor  scratches.  Dust  can  cause  or 
aggravate  respiratory  ailments.  In 
short,  dust  is  a  menance  as  well  as 
a  nuisance. 

At  the  invitation  of  the  editors  of 
International  Projectionist,  the 
writer  is  glad  to  pass  along  some  tips 
about  a  new  approach  to  dust  control, 
the  use  of  chemically-treated  mops 
and  tools  that  do  a  far  better  job 
of  dust  removal  than  conventional 
methods  of  broom  sweeping  and  "wet 
mopping." 

For  a  long  time,  dust  was  a  lot  like 
the  common  cold.  Everybody  admit- 
ted it  was  a  hazard  and  a  nuisance  but 
nobody  had  figured  out  an  easy  and 
economical  way  to  do  any  thing  about 
it.  Then  the  Bell  Telephone  Co.,  con- 
cerned with  the  vexing  problem  of 
dust  in  switchgears  and  other  elec- 
tronic equipment,  got  together  with 
Callaway  Mills  to  experiment  with 
chemically  treated  dry  mops.  The 
result  was  a  new  approach  to  dust 
control.  The  dry  mops  really  remove 
the  tiny  particles  of  "invisible"  dust, 
almost  too  small  to  be  seen  by  the 


naked  eye,  but  which  unfortunately 
is  always   very   much   present. 

Interestingly  enough,  the  initial 
impetus  for  the  new  method  of  "dry 
mop"  dus  control  (available  on  a 
rental  basis)  came  from  hospitals. 
Dust  is  notorious  as  a  carrier  of 
bacteria-borne  diseases.  For  hospi- 
tals, absolute  cleanliness  is  a  "must." 
The  new  method  of  dust  control, 
combined  with  germicidal  agents,  has 
played  an  important  role  in  quelling 
the  rise  of  "staph"  and  other  infec- 
tions which,  you  may  recall,  was  the 
occasion  of  nationwide  concern  three 
or  four  years  back.  You  don't  hear 
much  about  "staph"  any  more. 

Instead  of  "wet-mopping,"  the  new 
approach  to  dust  removal  relies 
mainly    on    "dry-mopping." 

It's  easy  to  observe  a  really  dra- 
matic comparison  of  treated  dry-mop 
sweeping  versus  broom  sweeping  and 
wet-mopping.  Wet-mopping  often 
sloshes  the  finer  particles  around. 
When  the  floor  or  other  surfaces 
dries,  the  dust  is  right  back  where 
it   started. 

For    a    convincing    demonstration, 


Mops,  Chemically-Treated,  make  dust 
control  faster,  easier,  really  remove  fine 
dust  particles  missed  by  other  means. 
Study  by  American  University  shows 
effectiveness  of  germicidals  used,  too. 


International  Projectionist        April,  1965 


sweep  and  mop  a  section  of  floor. 
Then,  as  soon  as  it  dries,  without  a 
single  foot  ever  having  been  set 
upon  it.  whisk  over  it  with  a  treated 
dry  mop.  Invariably,  the  mop  will 
be  literally  black  with  resettled  dust, 
fine  particles,  and  "invisible**  dirt 
from  the  so-called  sparkling  clean 
floor! 

Three  impressive  advantages  are 
offered  by  the  new  system:  ll  in- 
creased cleanliness  and  better  appear- 
ance;  2l  time  and  labor  saving;  3) 
keeping  dust  from  resettling  where 
it  may  become  a  health  or  sanitation 
hazard. 

A   headache 

In  the  projection  room,  this  "reset- 
tling" of  dust  when  conventional 
cleaning  methods  are  used  can  be  a 
real  headache.  When  dust  is  "re- 
moved" from  the  floor  by  conven- 
tional methods,  and  resettles  on  pro- 
jection or  other  equipment,  you're 
really  worse  off  than  when  you 
started! 

Broom  sweeping  and  wet-mopping 
involve  two  separate,  time-consuming 
operations.  The  dry-mop  operation 
is  a  single  step. 

The  new  dust  control  method  car- 
ries a  special  "bonus":  effective 
germicidal  control.  Results  of  hun- 
dreds of  laboratory  tests  conducted 
l>\  Prof.  Martha  Sager  at  the  biology 
department  of  The  American  Uni- 
versitv  have  indicated  that  treated 
mops  provide  substantial  anti-micro- 
bial  activity  and  reduce  the  hazards 
of  transmission  usually  encountered 
when  untreated  mops  and  dust  cloths 
are  used  by  maintenance  people. 

Prof.  Sager  reports:  "Each  of  the 
germicides  commonly  added  to  treat- 
ed drv  mops  i  phenols,  mercuric  com- 
pounds, and  quaternary  ammonium 
compounds  I  affects  the  bacterial  cell 
in  a  different  manner,  so  each  is 
effective  in  destroying  the  organism 
or  its  ability  to  reproduce." 


Let  your  screen  show 
everything  that's  on  the 
film 


What  is  adaptable  to  the  hospital 
and  other  businesses  may  well  be 
adaptable  to  the  projection  room. 
Chemically-treated  cloths  are  quite 
capable  of  removing  carbon  dust  and 
other  dust  more  easily  and  efficiently 
than  anything  yet  devised. 

Incidentally,  if  any  reader  of 
International  Projectionist  would 
like  to  have  a  copy  of  Professor 
Sager's  report,  it  is  available  free 
upon  request  by  writing:  The  Dust 
Control  Information  Bureau,  Execu- 
tive Building.  7100  Baltimore  Ave.. 
College  Park.  Md.  iP 

International  Projectionist        April,  1965 


USE 
BAUSCH  &  LOMB 
SUPER  CIIMEPHOR 
PROJECTION  LENSES 


You  can't  show  today's  motion  pictures  with  yesterday's 
projection  lenses  .  .  .  and  expect  to  get  top  box  office.  You 
need  modern  Super  Cinephor  lenses  .  .  .  designed  to  project 
with  high  fidelity  all  the  fine  detail,  subtle  tones  and  true 
colors  on  today's  advanced  film.  Engineered  and  built  by 
Bausch  &  Lomb,  Super  Cinephors  offer  proven  performance, 
backed  by  years  of  unmatched  experience  and  technical 
know-how  in  optics,  from  the  camera  to  the  screen. 

WRITE  for  Catalog  41-123  to  get  complete  information. 
Bausch  &  Lomb,  61616  Bausch  St.,  Rochester,  N.  Y.  14602. 


BAUSCH  &  LOMB  W 


Pioneers  and  leaders  in  optical  design  and  manufacture  for 

the  motion  picture  industry,  including  reflectors,  optical  sound  units,  Super  Baltar^' 

camera  lenses  and  Super  Cinephor  and  CinemaScope  projection  lenses. 


m 


■■■HHit;  <; 


International  Projectionist        April,  1965 


Now. 

Are  you 
willing  to  risk 
it  all  on  less 
than  Eastman 
films  ? 


More  than  anything  else  except  creative 
skill,  film  is  crucial  to  quality  in  movie- 
making. Isn't  it  a  false  economy,  then,  to 
attempt  to  save  a  fraction  of  a  cent  per 
foot  on  film  stock  which  has  less  than 
Eastman  quality?  And  doesn't  poor  film 
quality  jeopardize  your  entire  invest- 
ment, even  make  talent  look  bad? 

But  total-picture  quality  doesn't  de- 
mand that  you  merely  shoot  on  the  best 
negative.  There's  also  the  print  stock  to 
consider  . . .  and  some  don't.  It's  a  great 
mistake— both  from  your  point  of  view 
and  that  of  your  audience— to  print  on 
anything  less  than  EASTMAN  Film. 

Look  at  it  this  way.  Film— both  neg- 
ative and  print  stock— must  have  consis- 
tent speed,  uniform  processing  charac- 
teristics, dimensional  stability,  precision 
perforations  and  uniform  slit  edges.  In 
the  theater  it  must  possess  a  long  wear- 
tear  capability  for  precision  in  projection, 
and  in  order  to  hold  down  costly  print 
reorders.  EASTMAN  Films  have  all  these 
qualities  because  Eastman's  engineering 
and  technical  facilities  are  unique.  Fur- 
thermore, Eastman's  film  specialists  are 
always  at  hand  to  help  you  maximize 
production  efficiency. 

Everything  considered,  doesn't  it  make 
good  sense  to  use  EASTMAN  all  the  way? 
Motion  Picture  and 
Education  Markets  Division 

EASTMAN  KODAK  COMPANY 

Rochester,  N.Y.  New  York,  N.Y. 

Chicago,  111.  Hollywood,  Calif. 


I Ulllll II 


EASTMAN  FILM 


iiniimm i in 


International  Projectionist        April,  1965 


International  Projectionist        April,  1965 


Now. 

Are  you 
n-illina  to  risk 
it  all  on  l<>ss 
than  Eastman 
lihns? 


More  than  anything  else  except  creative 
skill,  film  is  crucial  to  quality  in  movie- 
making, Isn't  ii  a  false  economy,  then,  to 
attempt  to  save  a  fraction  of  a  cent  per 
foot  on  film  stock  which  lias  loss  than 
Eastman  quality?  Ami  doesn't  poor  film 
quality  jeopardize  your  entire  invest- 
ment, even  make  talent  look  had? 

But  total-picture  quality  doesn't  de- 
mand that  yon  merely  shoot  on  the  best 
negative,  There's  also  the  print  stock  to 
consider . . .  and  some  don't,  it's  a  great 
mistake  -  both  from  your  point  of  view 
and  that  of  your  audience  to  print  on 
anything  less  than  EASTMAN  Film, 

Look  at  it  this  way.  Film  both  neg- 
ative and  print  Stock  must  have  consis- 
tent speed,  uniform  processing  charac- 
teristics, dimensional  stability,  precision 
perforations  and  uniform  slit  edges,  In 
the  theater  it  must  possess  a  loan  wear- 
tear  capability  for  precision  in  projection, 

and  in  order  to  hold  down  costly  print 
reorders.  KAKTMAN  Films  have  all  these 

qualities  because  Eastman's  engineering 
and  tc.htiKv.l  fuditi.sare  unique.  Fur 
thermore,  Eastman's  film  specialists  arc 
always  at  hand  to  help  yon  maximize 
production  efficiency. 

Everything  considered,  doesn'l  ii  main' 
good  sense  to  use  EASTM  AN  all  the  way  '.' 
Motion  Picture  and 
Education  Markets  Division 

EASTMAN  KODAK  COMPANY 
Rochester,  N.Y.  New  York,  N.Y. 

Chicago,  111.  Hollywood,  Calif. 


EASTMAN  FILI 


International  Projection! 


st        April,  1965  International  Proj 


ectionist        April,  1965 


introducing  the  1965 


Is  there  really  a  new  Simplex  X-L  for  1965? 

Yes  and  No.  Yes,  because  the  X-L  mechan- 
ism never  stops  being  refined  and  improved  to 
meet  every  new  advance  in  motion  picture  pro- 
jection. No,  in  the  sense  that  the  basic  com- 
ponents that  have  performed  so  perfectly  for 
so  many  years  are  still  the  heart  of  the  X-L. 

Fact  is,  there's  a  long  list  of  advanced  engi- 
neering features  on  the  X-L  that  are  just  not 
available  on  any  other  projector.  But  it's  suffi- 
cient to  say  that  the  X-L  is  the  pride  of  the 
world's  most  experienced  manufacturer  of  pro- 
fessional motion  picture  projectors.  And  it's 
the  overwhelming  choice  of  projectionists 
everywhere. 

Get  all  the  facts  about  the  '65  X-L.  There's 
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Albert  Weis,  second  generation 
general  manager  of  the  Weis  chain 
of  theatres  in  Macon  and  Savannah, 
Georgia,  wanted  a  new  drive-in  the- 
atre for  Macon,  but  not  for  the 
prestige  of  building  the  biggest  and 
gaudiest  in  Georgia. 

He  set  high  standards  in  this 
order. 

No.  1)  Brightest  possible  picture 
consistent  with  screen  size  and  car 
capacity. 

No.  2)  Best  sound  reproduction 
possible  within  capabilities  of  equip- 
ment  available. 

No.  3)  Plan  the  drive-in  for  con- 
venience of  entrance  and  exit  to 
highways  yet  far  enough  from  high- 
ways to  avoid  annoying  interferences 
from  car  headlights,  flashing  signs 
and  highway  noises. 

No.  4)  Locate  the  screen  for  least 
interference  from  sunset  or  twilight 
shadows. 

No.  5)  Construct  a  beautiful  and 
functional  main  building  to  house 
the  projection  room,  rest  rooms, 
three  lanes  of  concession  operations, 
ample  patio  space  between  main 
building  and  screen  for  seating 
walk-in  patrons  and  to  make  the 
entire  complex  as  beautiful  as  pos- 
sible through  the  lavish  use  of  land- 
scaping and  shrubbery. 

He  did  all  of  this  and  the  new 
Weis  Drive-in  Theatre  opened  last 
fall  to  turn-away  business. 

But  it  took  quite  some  doing 
to  build  a  drive-in  to  the  Weis  stand- 
ards. First  he  commissioned  William 
Pulgram  of  the  Fabrap  Group  of 
Architects  of  Atlanta,  Ga.  as  de- 
signer and  architect.  Next  he  selected 
a  contractor  of  wide  reputation  and 
ample  equipment  to  carve  the  drive- 
in  out  of  the  rolling  hills  of  the  site. 

To  get  the  best  picture  possible, 
Mr.  Weiss  actually  located  the  screen 
and  the  projection  booth  and  then 
built  the  drive-in  theatre  around 
them.  He  selected  Ashcraft  Super 
Core-Lite  arc  lamps  and  170  ampere 
12  phase  selenium  rectifiers,  Sim- 
plex XL  projectors  with  5/1  fast 
pull  down  intermittent  movements, 
Kollmoreen  4"  diameter  f:1.9  Cine- 


mascope backup  lenses  with  4"  di- 
ameter Bausch  &  Lomb  anamorphic 
attachments,  Kollmorgen  f:1.7  flat 
picture  lenses. 

For  sound,  he  selected  a  special 
Simplex-Altec  sound  system  with 
three  175  watt  power  amplifiers 
(two  in  use,  one  for  standby)  fed  by 
transistorized  pre-amplifiers.  Ditmco 
5"  diameter  speakers  and  Eprad 
down-lighted  junction  boxes  with 
special  baskets  to  receive  the  larger 
type  speakers  were  used. 

The  screen  is  120  ft.  wide,  52  ft. 
high  and  is  faced  with  Barrett  white 
butt  jointed  asbestos  shingles. 

Mr.  Weiss  installed  Carrier  year 
{Continued  on  page  12) 

New  "Packaged" 
Projection   Booth 

A  new  series  of  easy  to  erect 
packaged  buildings  has  been  an- 
nounced by  FlexiBuilt-by-Master. 
Models  are  available  for  gate  houses, 
projection  booths,  and  refreshment 
stands,  and  combinations  of  these 
are  easily  arranged. 

FlexiBuilt  buildings  are  pre-manu- 
factured,  modern-style  structures 
easily  and  quickly  erected.  Flexi- 
Built components  include  sandwich 
type  walls  made  of  Alcoa  "Alply" 
with  permanently  colored  aluminum 
faces ;  many  styles  of  windows,  doors, 
roof  styles  and  floor  treatments. 
Standard  packages  are  available  for 
buildings  as  small  as  4'  x  4'  guard 
houses  up  to  large  warehouses,  retail 
stores,  motels,  school  rooms,  etc. 
Buildings  can  be  constructed  from 
standard  components  for  almost  any 
use  in  any  multiple  of  four  feet. 

The  one-story  structures  can  be 
built  on  slabs  or  footings,  with  or 
without  basements.  Most  can  be 
erected  quickly  by  local  crews  of 
two  to  four  men.  The  buildings  are 
shipped  from  the  factory  complete, 
ready  for  instant  erection  and  include 
all  kitchen,  rest  room  or  bath  facili- 
ties where  desired. 

For  a  free  folder  containing  more 
information  about  these  packaged 
buildings,  write  FlexiBuilt,  333  West 
First  Street,  Dayton,  Ohio,  45402. 

iP 


10 


International  Projectionist        April,  1965 


PROJECTOR 
CARBONS 


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Light! 


Lower 
Costs! 


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Projectionists 

who  like  quality 

always  use  the  best 


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Film    Cement 

Sold  by  Supply  Dealers 

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(Division  of  the 
Ace    Electric   Mfg.    Co.) 

1923    Bay    Road 
Miami  Beach,  Florida 


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Ballantyne   Equips  Two 
Pacific    Drive-ins 

Ballantyne  Instruments  &  Electron- 
ics will  completely  equip  the  1,750 
car  Sunnyside  Drive-In  Theatre, 
Fresno.  Calif.,  and  the  new  1.750  car 
Kalua  Drive-In  in  Hawaii,  for  Pacific 
Drive-Ins  Theatres  Corporation,  Los 
Angeles. 

The  complete  job  features  Ballan- 
tyne All-in-One  Package  equipment, 
including  all-sound  protection  booth, 
box  office  and  concession  equipment. 

Ballantyne  executive  vice  president 
J.  R.  Huff  said  that  Pacific  Theatres 
has  "gone  all  the  way  on  top  quality 
and  included  Ballantyne  Transistor- 
ized Sound.  Pre-amplifier  system, 
and  Ballantyne  MX  Power  Ampli- 
fiers, Norelco  AAII  70mm  projectors, 
jet  arc  lamps  and  unique  Ballantyne 
double-cone  speakers. 

The  Fresno  Drive-In  also  will  in- 
stall 525  Ballantyne  360°  electric 
heaters.  Complete  concession  equip- 
ment  will  include  ovens,  freezers, 
Tappan  Micro-Wave  ovens,  pizza 
ovens,  etc. 

The  screen  tower  at  the  Sunnyside 
in  Fresno  is  50  x  1 10  feet,  while  the 
Kalua  in  Hawaii  has  a  50  x  114  foot 
screen. 

ip 

Ballantyne    Introduces 
New    Power  Amplifier 

I\ow,  for  indoor  theatres,  a  new 
all-transistorized,  power  amplifier, 
the  PAT-50.  is  being  produced  by 
Ballantyne  Instruments  and  Electron- 
ics. Inc.,  in  Omaha.  This  amplifier- 
unit  is  designed  for  50  watts  un- 
distorted  power  output  with  a  10-ohm 
speaker  load.  Two  PAT-50's  are 
housed  together  in  a  wall  cabinet 
measuring  12^4"  wide  x  17%"  deep 
and  321/."  high. 

The  amplifiers  are  plug-in  type, 
and  each  PAT-50  is  complete  in  it- 
self. For  convection  cooling  and  with 
a  flat  response,  power  is  calculated 
RMS  and  will  operate  under  contin- 
uous full  power  duty. 

The  cabinet  has  filtered  forced  air 
cooling  for  added  amplifier  protec- 
tion. Units  are  designed  to  be  fully 
compatible  with  the  Ballantyne 
transistorized   pre-amps. 

Full  information,  prices  and  tech- 
nical data  can  be  secured  from 
Ballantyne  Instruments  and  Electron- 
ics, Inc.,  1712  Jackson  St.,  Omaha, 
Nebraska.  Ballantyne  is  a  division  of 
A.B.C.  Consolidated  Corporation. 

iP 


KOLLMOHGEN 


International  Projectionist        April,  1965 


11 


New  8mm 
Problems 

from  page  10 

A   Critical   Study 

All  the  factors  involved  having 
heen  defined,  it  was  possible  to 
proceed  to  a  critical  study  of  the 
problem  both  as  regards  film  size 
and  projector  design. 

As  regards  the  film  size,  the  first 
question  to  be  solved  was  that  of 
the  sound  track  to  be  adopted.  In 
spite  of  its  higher  cost  and  the  draw- 
backs encountered  in  operation,  the 


Norelco 

projection 
equipment- 
Available  from 
leading   theatre   supply 
dealers 
North  American  Philips  Co.,  Inc. 

Motion    Picture   Equipment    Division 
100    E.  42nd   St.,    New  York    17,   N.Y. 


A 


magnetic  track  seemed  to  prevail  be- 
cause it  provided  better  quality  of 
sound  reproduction,  similar  to  that 
obtained  with  a  magnetic  tape  run- 
ning at  a  speed  of  9.5  mm/sec. 

Therefore,  there  remained  the 
super  8mm  film  proposed  by  Kodak, 
the  8%mm  film  proposed  by  Bell  & 
Howell  in  the  United  States  and  the 
French  8.75mm  film  providing  a 
frame  area  of  25  sq.  mm,  i.e.  twice 
the  present  area  .  .  .  notwithstanding 
the  "tete-beche"  2  x  8mm  formula 
which  can  also  embody  the  above 
improvements  by  adapting  it  to  the 
4.75mm  pitch  with  sprocket  holes 
of  reduced  section. 

A  substantial  increase  in  frame 
area  constitutes  an  essential  factor 
in  the  design  of  projectors,  as  it  has 
been  stressed  by  the  manufacturers 
of  such  apparatus,  both  in  the  U.  S. 
and  in  France. 

The  problem  of  projectors  should 
therefore  be  approached  from  the 
viewpoint  of  performance  require- 
ments. Allowing  for  average  class- 
room dimensions,  it  is  essential  that 
the  picture — which  has  to  be  viewed 
from  a  distance  equal  to  six  times 
the  frame  width  at  the  most — be 
projected  on  a  0.70  to  1  screen. 
Moreover,  this  picture  must  be  suf- 
ficiently bright  to  be  viewed  in  a 
room  normally  illuminated  for 
schoolwork. 

These  requirements  should  be  met 
under  rear-screen  projection  condi- 
tions so  that  the  projector  can  be 
placed    near    the    professor's    chair; 


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moreover,  film  handling  in  projector 
operation  should  be  limited  to  put- 
ting the  magazine  in  place.  Finally, 
reverse  motion  and  still  projection 
are  desirable  features. 

It  was  claimed  that  the  American 
formulae  (Technicolor  and  Fair- 
child  )  did  not  meet  the  above  re- 
quirements on  account  of  the  small 
size  ci  s^.eens,  the  fact  that  reverse 
motion  is  not  possible  with  closed 
loop  magazines,  and,  finally,  of  the 
high  cost  of  a  magazine  adapted 
to  sound  film. 

Conversely,  the  automatic  film 
loading  projector  seems  to  be  more 
rational,  provided  it  be  combined 
with  a  simple  magazine  with  auto- 
matic film  rewinding,  in  the  view  of 
the  Continental  experts. 

In  this  connection,  attention  was 
drawn  to  the  "Scopitone"  system 
designed  by  the  Societe  CAMECA, 
while  pointing  out  that  constant  film 
speed  running  with  optical  compen- 
sation projection  was,  at  any  rate, 
preferable  to  the  claw  system,  to 
protect  the  film  from  damage  due 
to  faulty  operation  of  driving 
mechanism  or  deterioration  of  sproc- 
ket holes.  On  the  other  hand,  men- 
tion should  be  made  of  the  advan- 
tages which  could  be  derived  from 
the  use  of  embossed  surfaces  in  the 
design  of  transmission  type  screens 
with  a  high  photometric  coefficient. 

The  optimum  characteristics  of  a 
projector  intended  for  audio-visual 
education  was  defined  as  follows: 

— Automatic  engagement  of  the 
film  enclosed  in  a  magazine; 

— Simple  and  inexpensive  maga- 
zine; 

— Constant  speed  motion; 

■ — Possibility  of  moving  the  film 
in  reverse  direction  and  still  projec- 
tion; 

— Transmission  type  screen  with 
multicellular   embossing; 

— Image  brightness  500  to  1000 
blondels. 

Comparison  tests  between  Conti- 
nental and  U.  S.  solutions  to  the 
problem  are  being  made  at  the 
present  time.  For  this  discussion  of 
the  European  approach,  IP  is  in- 
debted to  the  Commission  Superieuse 
Technique   du   Cinema,   Paris.      iP 


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•   Longer  Burning  per  Carbon 
•   More    Economical 


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J       CARBONS,    INC.  BOON  TON,    N.J.        j' 


12 


International  Projectionist        April,  1965 


New  8mm  Kodak 
Movie  System 
Ready  to  Go 

Eastman  Kodak  Co.  announced 
that  it  plans  to  introduce  a  new 
movie  system  comprising  a  new 
Super  8  format,  an  improved  Koda- 
chrome  II  film  and  new  equipment 
for  8mm  amateur  and  commercial 
motion  pictures  prior  to  opening  of 
the  International  Photographic 
Exposition  on  May  1. 
The  Kodak  system  of  an  enlarged 
picture  area,  improved  film  quality 
and  new  equipment  and  optics  gives 
brighter,  sharper  pictures  on  the 
screen,  it  is  said.  Complete  details 
will  be  reported  at  the  I  HEX  meet- 
ing. 

New    system 

Eastman  Kodak  Co.  has  announced 
that  it  plans  to  introduce  a  new 
movie  system  comprising  a  new 
Super  8  format,  an  improved  Koda- 
<  hrome  II  film,  and  new  equipment 
for  8mm  amateur  and  commercial 
motion   pictures. 

The  Kodak  system  of  an  enlarged 
picture  area,  improved  film  quality, 
and  new  equipment  and  optics,  gives 
brighter,  sharper  pictures  on  the 
screen. 

The  complete  system  includes  an 
improved  8mm  film  that  gives  ap- 
proximate!) 50'  <  more  projection 
image  area  than  present  8mm. 

The  reports  in  IP  have  detailed 
how  the  company's  technical  men 
had  been  able  to  provide  the  ap- 
preciable increase  in  the  picture 
area  which  can  be  utilized  for 
brighter  and  larger  pictures  with  in- 
creased definition  and  sharpness. 
This  was  achieved  by  reducing  the 
size  of  the  perforationts  and  placing 
the  perforations  nearer  the  edge  of 
the  film.  The  sound  track  was  also 
moved  to  the  opposite  edge  of  the 
film  from  the  perforations. 

Because  the  new  format  lends  itself 
to  the  use  of  either  magnetic  or  opti- 
cal sound,  and  for  other  technical 
reasons,  it  is  well-suited  for  educa- 
tional, industrial,  and  commercial 
motion  picture  use. 

New   equipment 

The  price  of  the  Super  8  Koda- 
chrome  II  film,  which  will  be  sup- 
plied in  an  easy-load  cartridge  in 
ri()-foot  lengths  8mm  in  width,  is  ex- 
pected to  be  only  moderately  higher 
than  conventional  8mm  Kodachrome 
II  film  in  rolls.  Cameras  and  projec- 
tors for  present  film  will  not  accept 
the  "super"  film. 

International  Projectionist 


CENTURY   MODEL  JJ-2 
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You  can  show  better  pictures,  and  at  the  low- 
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TUfCOLD  DICHROIC  REFLECTORS 

The  light  reaching  your  screen  must  be  reflected  by  the 
lamphouse  mirrors,  therefore  brilliancy  of  your  pictures  is 
dependent  directly  upon  the  condition  of  your  reflectors. 

Using  TUFCOLD  reflectors,  projected  light  is  reflected  from 
the  front  surface  without  passing  through  the  glass  twice, 
as  with  second  surface  mirrors. 


See  your  dealer  now  for  the  size  you  need  or  write 
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31    CITY    PARK   AVENUE    •    TOLEDO,    OHIO    43601     •     PHONE:   (419)   248-3741 


April  1965 


13 


Projectionist  Andy  Noble  looks  very  pleased  with 
the  neat  installation  of  his  projection  room  at  the 
Weis  Drive-In  Theatre  in  Macon,  Georgia.  Featured 
in  this  illustration  are  the  two  Ashcraft  Super  Core- 
Lite  Arc   Lamp  installations. 

Also  shown  are  the  water  recirculctors.  The  lamps 
burn  13.6x18  high  intensity  carbons  at  165  amps. 
The  screen  width  is  137  feet.  The  Simplex  XL 
projectors  have  high-speed  movements.  Simplex 
XL-Altex  525  watt  sound  system  and  Simplex  ped- 
estals. 


A  general  scene  from  the  parking  area  of  the 
Weis  Drive-In  Theatre  in  Macon,  Georgia,  show- 
ing the  125-ft.  wide  screen  and  the  main  building, 
sunken  seven  feet  below  the  grade  level  of  the 
parking  area.  At  the  far  right  of  the  illustration 
is  the  projection  booth,  located  above  the  three- 
lane,  cafeteria-style,  air  conditioned  concession 
area.  The  Drive-In  playground  is  located  at  the 
rear  of  the  building. 


New  Drive-In 

from  page  10 

'round  heating  and  air  conditioning 
units  for  80  cars,  and  said  he  would 
equip  the  entire  theatre  with  such 
units  provided  the  year'  round  popu- 
larity of  such  units  would  justify 
lhe  expense. 

Traffic  and  admissions  accounting 
at  the  box  office  are  handled  through 
four  lanes  of  Eprad  Car-Check  and 
Watchdog  car  counting  systems. 

An    area     approximately     150    ft. 


wide  and  300  feet  long  was  sunken 
near  the  center  of  the  drive-in  and 
the  entire  main  building  was  lo- 
cated in  this  depression,  which  is 
approximately  7  ft.  below  the  level 
of  the  drive-in  surface.  The  purpose 
of  this  design  is  to  lower  the  main 
building  to  improve  sight  lines  of 
all  the  car  ramps  at  the  rear  of  the 
drive-in  area  and  to  make  possible 
one  of  the  most  unique  and  beauti- 
fully landscaped  drive-in  anywhere. 
More  than  6,700  different  pieces  of 
shrubbery  were  used  in  landscaping 
the  project. 


Currently  the  capacity  of  the  Weiss 
Drive-In  is  850  cars,  but  rough 
ramps  have  been  provided  and  wir- 
ing installed  for  an  additional  300 
cars  when  the  need  for  more  capa- 
city justifies  the  expansion. 

All  of  the  projection  and  sound 
equipment,  speakers,  junction  boxes, 
concession  and  box  office  equipment, 
changeable  letter  signs  and  play- 
ground equipment,  were  supplied  and 
installed  under  the  supervision  of 
Bill  Toney,  manager  of  the  Atlanta 
Branch  of  National  Theatre  Supply 
Co.  iP 


Look  over  Drive-In  —  here  the  owner  and  general 
manager  of  the  Weis  circuit  of  theatres,  Albert 
Weis,  is  shown  with  architect  William  Pulgram  on 
the  sunken  patio  of  the  Weis  Drive-In  Theatre  in 
Macon,  Georgia.  The  illustration  shows  part  of  the 
patio  seating  area  and  two  goldfish  ponds  which 
help  make  the  entire  recreation  and  playground 
area  a  valuable  adjunct  to  the   Drive-In. 

14 


Another  view  of  the  Weis  Drive-In  Theatre  show- 
ing a  view  from  the  screen  area  —  showing  in 
greater  detail  the  sunken  main  building  and  pro- 
jection booth.  Unexcelled  viewing  is  permitted  from 
the  parking  area  in  the  back  of  the  projection  booth 
and  concession  area;  the  pit  also  contains  a  play- 
ground area,  patio  and  even  fish  ponds. 

International  Projectionist        April,  1965 


basic 
mathematics 

by  NOB  MAN  N.  CIOWHUCST 


VOLUMES 
1  through  4 
COMPLETE 

ROM  COUHTMS 

nctwot  calculus 

A  MOOftft 
UMFIED  AfNOACH 

to  ftunounts 
urn  us  uses 


LEARNING 


:.-.■■ 


A  RIDER 


/>, 


BASIC   MATHEMATICS 

by  Norman  H.  Crowhurst 

♦-volume  'pictured-text'  course  makes  it  easier  than 
ever  before  possible  to  learn  all  the  math  you'll  need 
to  know  to  speed  your  progress  in  electronics— no 
short  cuts— no  gimmicks. 

This  remarkable  4-volume  course  takes  you  in  easy 
stages  from  counting  through  algeoia,  geometry, 
trigonometry  to  calculus  so  that  you  win  understand 
easily,  quick:),  a  I  the  math  you  will  need  to  get 
aheaJ  in  electronics  —  regardless  of  your  previous 
education!  It  empioys  an  exciting  new  technique 
presenting  basic  mathematics  as  on  continuous  devel- 
opment of  mathematics.  The  individual  branches  ot 
mathematics  are  not  divided  into  separate  and  un- 
related si.bjects.  Algebra,  geometry,  trigonometry, 
caxulus  ft  interwoven  at  progressively  rising  levels 
in  the  different  volumes  Each  vo  ume  reinforces  your 
understanding  as  you  penetrate  more  deeply  into 
th;  subjects.  Selected  illustrations  create  clear 
ima;es  of  math;matical  ideas  formerly  difficult  to 
understand. 

A  KNOWLEDGE  OF  MATH  SPEEDS  YOUR  PROGRESS  IN 
ELECTRONICS  —  No  matter  what  your  plans  are  in 
electronics   —   mathematics    plays   a    vital    role.    The 


more  math  you  know,  the  easier  it  is  to  learn 
electronics.  And,  if  you've  set  your  sights  on  being 
an  advanced  technician  or  an  engineer,  this  course 
will  speed  you  towards  your  goal. 
Volume  I  —  ARITHMETIC  AS  AN  OUTGROWTH  OF 
LEARNING  To  COUNT  —  You  gain  the  self-confidence 
you  neeJ  to  master  mathematics!  You  build  a  solid 
founoation  in  mathematics  without  realizing  that 
you  are  being  introduced  to  subjects  usually  con- 
sidered dry  and  difficult  to  master.    #268-1,  53.90 

Volume  II  —  INTRODUCING  ALGEBRA,  GEOMETRY, 
TRIGONOMETRY  AS  WAYS  OF  THINKING  IN  MATHE- 
MATICS —  Building  on  the  solid  foundation  laid  in 
Vol  I.,  you  learn  to  apply  algebra,  geometry  and 
trigonometry  as  better  methods  of  solving  a  problem 
when  the  arithmetic  begins  to  get  involved.  #268-2, 
S3. 90 

Volume  III  —  DEVELOPING  ALGEBRA,  GEOMETRY, 
TRIGONOMETRY,  CALCULUS  AS  WORKING  METHODS  IN 
MATHFMATICS  —  This  volume  continues  the  search 
for  new  and  better  methods  of  calculating,  and  adds 
calculus  to  the  group  of  'tools'  already  introduced. 
#268-3,  S3. 90 

Volume  IV  —  SEVELOPING  ALGEBRA,  GEOMETRY, 
TRIGONOMETRY,  CALCULUS  AS  ANALYTICAL  METHODS 
IN  MATHEMATICS  —  Once  you've  reached  volume  IV, 


you're  ready  to  apply  all  that  you've  learned  in  the 
earlier  volumes.  You'll  be  able  to  find  the  right 
approach  to  each  individual  problem.  You'll  be  ready 
for  a  career  in  which  mathematics  play  a  most 
important  part.    #268-4.    53.90 

Available  at  parts  distributors,   bookstores,   or  direct. 


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Vol.       i 
4-       1 

Name 

Address 

City  

Zone State 

. . 


&n(y  the^trc£amp  o/Hanufacturer 


who  is  the  largest  in  the 
world,  has  built  the  great- 
est number  of  carbon  arc 
lamps,  the  most  different 
models,  and  who  builds 
lamps  that  deliver  maxi- 
mum light  requirements 
for  indoor  and  drive-in 
screens,  could  have  de- 
veloped the  beautiful  new 


2:0  *-• 
b  <  o 

S3  H-   H5 

POH«   O 

UiO    o 

•  3D 

O       ^ 

•  -^  <D 
OO    to 

•  U)  to 
O 

s 


lj-tl_-> 


That's  why  Strong  lamps  are  used  in  "70%  of  all  U.  S.  theatres. 
Your  Strong  dealer  will  be  happy  to  show  you  the  Futura  or 
you  can  obtain  literature  by  writing  .  .  . 


THE 


ELECTRIC     CORPORATION 


31    City  Park  Avenue 


Toledo,  Ohio  43BQ1 


Phone  C413D  24B-3741 


Note:   Strong    also    is    the    only    American    Xenon    lamphous e    manufacturer. 


INTERNATIONAL 


A  look  at  the  projection  room  of  the  Basil  Theatre, 
sharon,  Pa.,  suggests  that  a  projectionist,  after  working 
lis  shift,  would  be  reluctant  to  leave  such  surroundings 
sven  for  the  comfort  of  his  home.  Surely  it  is  a  splendid 
example  of  fine  equipment,  well  installed,  and  perfect 
lousekeeping  from  floor  to  ceiling.  Note  the  comfortable 
iafety  matting  at  each  projector  and  the  provision  for 
good  booth  lighting.  Shown  is  Arnold  F.  Campana, 
nanager,  left,  and  William  Taylor,  projectionist,  after  the 
retaliation  of  Strong  Futura  lamps  was  made  by  Ballan- 
ryne   Instruments  and   Electronics,    Inc.  Omaha,   Nebr. 


MAY 
VOLUME  40 
40c  A  COPY 


(X89£o)     uotsxatq  japjo 


1965 
NUMBER  5 
$3.00  A  YEAR 


"Just  recently  we  completed  installation  of  two 
STRONG  FUTURA  II  Lamps  with  the  STRONG  Bi- 
Power  Silicon  Rectifier  and  two  water  pumps  for  the 
water  cooled,  positive  jaws.  Both  lamps  work  like  a 
charm.  They're  easy  to  clean  and  stay  clean  longer 
than  any  lamps  I've  run.  We  are  getting  25%  more 
light  on  the  screen.  Carbon  consumption  has  been  re- 
duced by  a  big  percentage.  The  lamps  are  beautiful. 
There  are  many  more  things  that  I  like  about  these 
lamps  and  all  of  it  is  good." 

W.  C.  Mathews,  Projectionist 

Shades  Mt.  Drive-In  Theatre, 
Birmingham,  Ala.,  Member 
of  IATSE  &  MPMO  Local  236 

(Shown  at  left  in  picture  with 
Carl  Wesler,  Jr.,  Manager) 

Such  compliments  make  one  blush 

The  Strong  Electric  Corp.,    •    31     City  Park  Avenue    •    Toledo,  Ohio  43601 


-i 


INTERNATIONAL 

PROJ  ECTIONIST 


Volume  40         May,  1965  No.   5 


FRANK   W.   COOLEY,   JR. 
Editor   and    Publisher 

RAY  GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO  ASSOCIATES 

National    Advertising    Representatives 

545    Fifth   Avenue.    New   York,    N.  Y.,    10017 

Telephone   Murroyhill    7-7746 

(Area   Code   212) 


IN  THIS  ISSUE 

Research  Pays  Off                                               4 

New  Trade  Show  Plans       11 

Sound  System   Improvements       12 

Rectifier    Developments                   13 

News    Notes  —  Technical    Hints  —  Miscellaneous    Notes 


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copyrighted  1965  by  INTERNATIONAL  PROJECTIONIST 
PUBLISHING  CO. 

International  Projectionist        May,  1965 


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MM  r  fill  iniimiJ]  Mi  niiri.i1H*-imH '-■ — - -'- ■—   -    •  - 


VOLUME  40 


May,  1965 


NUMBER  5 


Motion  Picture  Theatre  Research  will 
Pay  Dividends  for  Projectionist 


By  M.  C.  (Mel)  Glatz 


No  doubt  everyone  in  the  industry 
is  looking  with  great  anticipation  at 
the  growing  activity  in  the  construc- 
tion of  new  theatres  —  remodeling  — 
refurbishing  —  and  re-equipping  of 
existing  theatres.  By  past  standards, 
we  might  say  that  there  actually  is 
a  boom  developing,  particularly  in 
conventional  theatres  in  key  locations 
and  shopping  centers. 

BACKED   UP  V/ITH 
HARD  CASH 

Experimental  theatres,  properly 
located,  improved  product,  and  popu- 
lation trends  have  re-established  faith 
in  the  industry.  This  renewed  faith 
was  backed  up  with  hard  cash  to  the 


*Head  of  purchasing,  construction  and 
real  estate,  Fox  Intermountain  Theatres, 
Inc.  Mr.  Glatz  is  also  a  theatre  design 
engineer.  Printed  here  is  an  address 
given  at  the  recent  Theatre  Equipment 
Dealers  Ass'n  meeting  in  Chicago. 

4 


tune  of  $97,000,000  in  new  construc- 
tion in  1963,  plus  another  $15,000,- 
000  on  refurbishing  and  re-equipping 
older  theatres. 

It  is  predicted  that  in  1964  there 
will  be  considerably  more  new  theatre 
construction  and  many  more  remodel- 
ing projects — possibly  at  a  combined 
amount  near  $130,000,000. 

While  the  industry  has  lost  an 
audience  to  other  forms  of  entertain- 
ment and  sports  media  except  for 
rare  occasions,  it  is  starting  to  feel 
the  effects  of  the  population  explo- 
sion. You  are  aware  of  this  great 
population  growth,  but  to  bring  it 
into  full  and  proper  focus,  may  I 
remind  you  of  a  few  significant  stat- 
istics and  predictions? 

GREAT  POPULATION 
GROWTH 

In  1950  the  U.  S.  population  was 
152.3  million.   In  1960  the  figure  was 


180.7  million.  We  are  approaching 
1965,  and  the  prediction  is  195.1 
million.  The  prediction  continues  by 
estimating  that  the  population  figure 
in  1970  will  be  211.4  million;  and  by 
1980,  only  15  short  years  away,  the 
figure  will  reach  252.1  million.  No 
doubt  much  of  the  new  faith  in  the 
industry  is  based  correctly  on  these 
figures. 

To  refresh  your  memory  on  what 
is  happening  to  the  youth  population, 
which,  at  present,  makes  up  the 
majority  of  theatre  attendance. 

In  1950  there  were  51.4  million 
under  20  years  of  age.  By  1960, 
there  were  69  million  —  a  gain  of  35 
per  cent  in  only  ten  years.  This  will 
expand  as  follow: 

By  1970— to  85  million. 

By  1980— to  103  million  or  double 
the  1950  youth  population. 


While  on  statistics,  the  migration 
International  Projectionist        May,  1965 


of  population  should  be  of  some 
significance  to  you  in  planned  mar- 
keting. During  the  50s.  the  rate  of 
growth  in  the  the  western  states  was 
twice  that  of  the  national  average. 
It  is  predicted  that  during  the  60s 
this  migration  west  will  increase,  with 
the  migration  south  being  a  close 
second.  It  is  estimated  that  by  1()75. 
the  majority  of  the  population  will 
live  in  only  20  super  cities! 

BRIGHT   FUTURE  APPARENT 

Considering  these  facts  and  predic- 
tions: plus  your  realization  that 
there  are  eight  to  ten  thousand 
theatres  in  the  nation  badly  needing 
remodeling,  new  equipment  new  fur- 
nishings. Your  Future  Appears 
Bright! 

However,  even  though  your  part  of 
this  industry  has  been  on  "starvation 
rations"  for  many  years;  even  though 
your  service  to  the  industry  has  been 
of  great  value:  even  though  you  have 
won  deserving  respect  of  the  industry, 
and  no  doubt  are  entitled  to  a  break, 
your  fight  for  survival  may  be  only 
beginning! 

It  appears  that  for  those  who  can 
adapt  and  qualify,  they  are  on  the 
threshold  of  the  biggest,  most  reward- 
ing opportunity  they  will  experience 
in  a  lifetime. 

The  question  becomes:  What  Docs 
It  Take  to  Qualify? 

You  must  become  a  hard-headed 
realist,  and  realize  that  many  of  the 
items  and  services  you  are  offering 
your  customers  are  as  obsolete  as 
most  of  our  ancient  theatres.  In  fact, 
some  product  and  methods  are  the 
same  as  were  being  offered  and  sold 
in   the  30s! 

Maybe  there  is  a  good  excuse  be- 
cause your  past  energies  and  ingen- 
uity have  been  centered  on  survival. 
and  rightly  so.  But  now  is  the  time 
for  a  change.  Otherwise,  the  oppor- 
tunity may  be  a  mirage. 

I  am  not  belittling,  in  any  way.  the 
brave  souls  who  have  improved  their 
products  and  services  during  the  past 
"dry  spell."  In  fact,  they  have  the 
industry's  highest  regard.  These  are 
the  ones  who  are  pioneering  the  new 
era.  These  are  the  ones  whose  place, 
I   believe,   is  secure. 

STARTING  A   NEW   ERA 

We  are  in  fact  starting  a  new  era. 
And.  speaking  of  new  eras — most 
U.S.  businesses  have  been  in  a  new 
era  for  15  years.  The  technological 
advancements  in  all  other  businesses 
have       been       tremendous.        Their 


methods  of  marketing  have  kept  pace. 
Their  entire  concept  of  doing  busi- 
ness, their  dreams,  their  ideas,  their 
physical  plants  are  tuned  to  1964, 
and  beyond.  They,  in  many  instances, 
are  15  years  or  more,  ahead  of  our 
industry,  particularly  in  physical 
properties.  Competition  has  forced 
these  radical  changes. 

I  believe,  too.  that  the  production 
end  of  our  business  is  also  way  in 
advance  of  our  physical  properties 
and  equipment,  and  that  there  are 
relatively  few  theatres  which  can  pre- 
sent their  product  to  the  customer  as 
it  should  be  presented,  and  give  the 
customer  the  full  impact  of  what  has 
been  put  on  the  film. 

The  attitude  of  "you  make  it.  we'll 
sell  it"  was  discarded  15  years  ago 
by  most  every  other  business.  In 
modern  business,  those  disliking 
change  have  gone.  Those  preferring 
to  remain  status  quo,  have  not  been 
able  to  maintain  their  status  quo. 
Those  who  welcomed  change,  who 
adopted  and  initiated  new  concepts 
in  product  and  marketing,  are  the 
successes  of  today  in  modern  busi- 
ness. This  must  be  your  philosophy, 
as  of  now. 

INDIVIDUAL   OBSOLESCENCE 

Have  you  ever  heard  of  individual 

obsolescence?  Well,  there  was  a  time 
back  in  1900  to  1920  when  a  person 
might  learn  a  trade  and  go  through 
his  life  without  finding  himself,  his 
ways,  his  thinking,  his  trade,  obsolete. 

World  War  I  and  technological  ad- 
vancements changed  this  somewhat. 
By  1945  a  person  might  get  midway 
in  life  before  he  became  obsolete, 
unless  he  kept  pace  with  change. 

Whether  we  know  it,  or  want  to 
realize  it.  change  on  today's  market 
in  some  businesses,  and  particularly 
in  the  engineering  field,  is  so  rapid 
that  a  person's  knowledge,  approach 
and  training  is  obsolete  before  he  can 
begin  the  career  for  which  he  has 
been  trained. 

How  obsolete  are  we? 

With  others  so  far  ahead,  I  believe 
you  can  see  a  real  danger  which  can 
jeopardize  your  position,  in  that,  as 
the  market  grows,  engineers,  techni- 
cians and  outsiders  with  this 
advanced  knowledge  and  know-how, 
will  be  enticed  and  intrigued  by  your 
opportunity,  and  will,  in  fact,  steal 
your  opportunity!  Your  stake  is 
large.  The  industry  needs  you  as  a 
guiding  force. 

The  industry  needs  an  organized 
research  program  of  your  customers' 
needs,  and  those  of  the  demanding 
public.   The  whole  picture  must  begin 


FOCAL   LENGTHS! 

See  Kollmorgen  for  l%"and  below 


FOCAL   LENGTHS! 

See  Kollmorgen  for  11"  and  beyond 

Now,  Kollmorgen  offers  you  the  widest 
range  of  theater  lenses,  in  speeds  and 
focal  length  extremes.  For  extra  short, 
e.f.  range,  the  telescopic  BX294  series 
has  no  equal.  This  series  has  7  items  in 
focal  lengths  of  1%",  V/e",  2",  2y4", 
2y2",  2%",  3".  These  superior  lenses, 
with  built-in  telescope  adapters,  bring 
you  the  benefits  of  longer  back  focus, 
larger  rear  aperture,  sharper  focus  and 
more  complete  overall  corrections.  Get 
all  the  facts.  Ask  your  equipment  dealer 
for  latest  information  on  Kollmorgen 
Projection  lenses  for  1965  or  write  us. 


^r> 


KOLLMORGEN 

\    Y  r"7  CORPORATION 

\^      y      NORTHAMPTON.   MASSACHUSETTS 

America's  Number  1  Source 
of  Optimum  Image  Quality 


International  Projectionist        May,  1965 


end  with  the  public's  likes  and 
dislikes.  I  am  not  speaking  of  equip- 
ment and  furnishings  only,  but  of  the 
composite  theatre,  the  completed  end 
results. 

DON'T  KNOW 
HOW  TO   BEGIN 

There  are  literally  hundreds  of  ex- 
hibitors wanting  and  needing  new 
facilities.  remodeling,  equipment. 
Most  of  them  haven't  the  slightest 
idea  of  how  to  begin,  or  where  to 
start,  or  what  they  will  need,  or  with 
whom  to  counsel  who  can  really 
guide  them  and  who  really  knows. 

It  is  a  crime  to  see  how  money, 
energy  and  time  are  wasted  on  new 
projects,  or  old  ones,  which  are 
patterned  after  theatres  and  concepts 
of  the  20s  or  30s. 

Architects,  engineers,  designers  "in 
the  know"  in  our  business  are  few 
and  far  between.  Most  of  these  desert- 
ed the  industry  in  the  40s  and  early 
50s,  because  of  necessity. 

With  no  new,  up-to-date  guide  lines 
and  requirements  to  go  by  for  today'15 
streamlined  functional  theatre,  an 
inexperienced    person    is    bound    to 


make  costly  errors  and  come  up  wit'i 
obsolete  facilities. 

Here,  again,  research  by  a  group 
such  as  yours  can  be  invaluable  to  the 
industry.  Guess  work  —  personal 
opinion  —  tradition  must  go.  Every- 
thing must  start  with  the  customer 
and  end  with  the  customer  —  his 
needs,  his  likes,  his  way  of  life;  and 
with  vision  to  the  future.  It  cannot 
start  with  a  designer,  an  engineer,  a 
manufacturer,  your  wife  or  mine,  a 
vice-president,  neither  with  the  sales 
manager,  nor  you,  nor  me —  but  with 
the  customer. 

ACTIVE  IN   EXPANSION 
PROGRAM 

As  you  have  read,  my  company  has 
been  very  active  in  this  new  expan- 
sion program,  and  has  completed 
several  new  projects,  both  conven- 
tional and  drive-in  theatres.  And 
there  are  many  more  in  the  planning 
of  obsolete  facilities,  not  only  in 
stage.  We  need  many  replacements 
metropolitan  areas,  but  in  towns  of 
25,000  to  100,000  population,  as  well. 

The  tremendous  cost  of  these  com- 
pleted projects  has  made  our  officials 


REDUCE 

SCREEN 

LIGHT 

LOSS 


with  modern,  first  surface 

TUfCOLD  DICHROIC  REFLECTORS 

The  light  reaching  your  screen  must  be  reflected  by  the 
iamphouse  mirrors,  therefore  brilliancy  of  your  pictures  is 
dependent  directly  upon  the  condition  of  your  reflectors. 

Using  TUFCOLD  reflectors,  projected  light  is  reflected  from 
the  front  surface  without  passing  through  the  glass  twice, 
as  with  second  surface  mirrors. 


See  your  dealer  now  for  the  size  you  need  or  write 
for  data  on  sizes  for  all  lamps. 


The^'^  Electric    Corporation 

31    CITY    PARK   AVENUE    •    TOLEDO,    OHIO    43601     •     PHONE:   (419)   248-3741 


Ed  Nelson,  center,  assitant  general 
manager  and  vice  president  of  Bal- 
lantyne Instruments  and  Electronics, 
Inc.,  Omaha,  Neb.,  and  his  wife, 
Dorothy,  are  seen  greeting  Oregon 
theatre  owners,  Mr.  and  Mrs.  Tom 
Moyer  and  their  son,  Tommy,  on  their 
arrival  in  Honolulu.  The  Moyers  are 
owners  of  the  Moyer  Theatres  in  the 
Portland,  Oregon  area.  During  their 
stay  in  Hawaii,  the  Moyers  had  an  op- 
portunity to  see  Ballantyne's  70mm 
equipment  being  installed  in  the  new, 
1700  car  Kailua  Drive-In  Theatre  in 
Kailua,  Oahu.  Mr.  Nelson  is  supervis- 
ing the  installation  of  the  sound,  pro- 
jection and  concession  equipment  fur- 
nished by  Ballantyne.  After  viewing 
this  impressive  installation,  Mr.  Moyer 
immediately  commissioned  Ballantyne 
Instruments  and  Electronics  to  also 
equip  his  new  drive-in  theatre  in 
Eugene,  Oregon.  The  new  Moyer 
drive-in  is  expected  to  open  in  60  days. 
Ballantyne  Instruments  and  Electronics, 
1712  Jackson  St.,  Omaha,  Neb.,  is  a 
division   of   ABC   Consolidated   Corp. 


consider  each  project  more  carefully. 
Tt  would  be  my  guess  that  others 
interested  in  expansion  and  improve- 
ment are  finding  the  same  condition. 

It  would  also  be  my  guess  that  for 
every  new  project  under  way  or 
completed,  there  are  at  least  20  to  30 
more  which  are  desired  and  needed, 
but  which  have  been  shelved  or 
halted. 

So  what  is  really  happening  in  this 
new  building  spurt  so  far,  must  be 
considered  an  extremely  limited  mar- 
ket, as  compared  with  the  need,  and 
what  might  be  built  if  costs  could  be 
amortized  and  some  profit  foreseen. 

In  my  company,  those  of  us  in  the 
design  and  construction  field  have 
been  challenged  by  our  top  manage- 
ment to  do  something  about  this  cost 


International  Projectionist        May,  1965 


problem:  to  produce  a  new.  cle  luxe 
conventional  theatre  for  $300  per 
seat,  complete  in  every  respect,  fully 
equipped,  exclusive  of  land  cost.  The 
past  completed  theatres  have  been 
costing  between  $400  to  $600  per 
seat.  This  means  cutting  the  cost  of 
an  average  800-seat,  equipped  theatre 
In  $50,000  to  $100,000. 

This,  you  may  say,  is  impossible. 
^  et.  ever)  indication  is  that  it  ran 
and  will  be  done. 

A  CHALLENGE   EXISTS 

1 1  cannot  be  done  by  some  of  our 
ancient  standards.  I  et  me  tell  you  a 
little  about  the  challenge.  Much  of 
the  sound  system  will  be  from  outside 
concerns.  Why?  Because  we  cannot 
afford  the  luxurv  of  12.000  cubic  feet 
of  building  space  renuired  to  house 
the  conventional  speakers  vou  have 
to  offer.  We  will  use  transistor  am- 
plifiers, not  now  offered  by  supply 
houses  such  as  yours,  primarily  be- 
cause of  first  cost:  secondly  because 
of  installation  cost.  With  ours,  we 
will  be  able  to  plug  it  in.  and  have 
it  operating  in  a  few  minutes. 

Let  me  give  you  an  example  first- 
hand of  what  happened  in  Albuquer- 
que, N.  M..  regarding  our  new  theatre 
in  the  Winrock  Shopping  Center. 

We  installed  70mm  equipment, 
with  five-track  transistor  sound 
equipment.  Our  cost  of  engineers 
nnd  installation  supervision  was 
$1,799.  We  had  two  projectionists  in 
the  booth  for  over  four  weeks: 
$1,100;  plus  two  electricians  at 
^2.210:  plus  material  costs.  Jjahnr 
alone  for  this  installation  was  over 
$5,000. 

This  is  not  the  end,  we  just  spent 
an  additional  $4,800  to  install  Cin- 
erama sound  equipment  a  few  weeks 
ago. 

I'm  sure  you  set  the  idea.  And  this 
is  typical.  Multiply  the  problem 
several  times,  in  all  categories,  and 
you  can  see  the  tremendous  waste 
that  must  be  eliminated:  and.  of 
course,  it  can  be. 

If  vou  force  the  exhibitor,  such  as 
us.  to  take  the  initiative,  he  will  cut 
vou  out  as  middle  man.  as  in  the 
foregoing  example. 

Complacencv  and  lack  of  realistic 
understanding  and  action  on  your 
part,  or  on  the  part  of  the  manufac- 
turer, will  cut  your  potential  market 
by  80  to  00  per  cent,  if  not  destroy 
you. 

HOUSING   INDUSTRY 
SHOWS  WAY 

As  an  example  of  what  can  be  done 
—  the  housing   industry,   which,   as 

International  Projectionist        May,  1965 


you  know,  is  one  of  the  largest  dollar- 
volume  businesses  in  this  country, 
through  ingenuity,  resourcefulness, 
research  and  the  use  of  new  methods 
and  marketing,  has  stopped  the 
upward-spiraling  costs.  They  now  are 
building  a  better  house  cheaper  than 
five  years  ago  with  prefab  compon- 
ents, with  less  on-the-site  labor,  new 
materials.  The  end-result  is  an  ever- 
increasing  market  rather  than  a  dim- 
inishing one.  primarily  due  to  stabili- 
zing and  reducing  costs.  We  must 
adopt  a  similar  approach. 

Getting  back  to  the  challenge  of 
creating  a  greatly  reduced  cost  on 
our  new  theatre: 

We  cut  our  over-building  height  by 
30  inches  bv  using  the  former  attic 
space  to  mount  draperies  and  tracks. 
This  eliminates  a  valance,  and  also 
cuts  out  another  14.000  cubic  feet 
from  the  auditorium,  helping  on  heat- 
ing and  air-conditioning  requirements 
and  future  costs.  This  also  improves 
the  picture  presentation. 

Fifty  per  cent  of  the  sidewalls  are 
a  continuation  of  the  stage  drapery. 
helping  with  the  acoustical  problem 
and  eliminating  expensive  finishing 
materials  on  a  substantial  portion  of 
tin-  walls. 

PACKAGE   UNITS 
CUT  COSTS 

Package  heating  and  air-condition- 
ing are  available  (and  incidentally, 
vou  should  be  selling  them),  which 
help  to  eliminate  expensive  duct  work 
and  cut  down  the  job  installation  cost 
and  on-the-job  assemblv  by  approxi- 
mately 80  per  cent.  This  field  is  wide 
open,  with  great  potentials  in  im- 
provement and  adaptation  for  strictly 
theatre  use. 

Inside  boxoffices  also  save,  create 
a  more  friendly  atmosphere,  and 
speed  traffic. 

Restrooms  are  simplified.  While 
nothing  replaces  ceramic  tile  for 
floors,  there  are  plastic  materials  in 
abundance  for  walls.  We  have  elim- 
inated doors  bv  creating  light  and 
sound  locks.  This  speeds  traffic: 
there  is  a  lower  first  cost  and  later 
maintenance. 

Electrical  systems  can  and  are 
being  simplified,  primarily  in  the 
projection  booth,  and  simplification 
of  the  main  distribution  system. 
While  some  of  this  may  create  a  few 
extra  steps  for  theatre  personnel,  it 
saves  thousands  of  dollars  in  first  cost 
and  later  maintenance. 

Catwalks    through    the    attic    have 
{Continued) 


■Jf 

look 

into 

Stewart 

Film  screens 

•  •  •  the 

choice 

of 
experts 


V 


V 


FILMSCREENS  FOR  SHOWMEN-Stew- 

art  Projection  Screens-the  choice  of 
15  major  exhibitors  at  the  New  York 
World's  Fair! 

ULTRAMATTE  —  for  commercial  play- 
houses, theatre  TV,  viewing  rooms  ■ 
Seamless  to  46  by  88  feet  ■  Optical 
efficiency  ■  Durable  economy. 
LUXCHROME  50- seamless  rear  pro- 
jection ■  Superior  image  contrast  in 
lighted  rooms. 


H 


FILMSCREENS  FOR  FILM  PRODUCERS 

-used  by  CBS  Studio  Center,  Colum- 
bia, Desilu,  Disney,  Fox,  Goldwyn, 
MGM,  Paramount,  Revue,  UPA,  Uni- 
versal, Warners. 

HI-TRANS -Academy  Award  back- 
ground screen  — highest  calibre 
production  "tool." 

ULTRAMATTE  gain  white,  and  LUX- 
MATTE  white  matte— front  projection 
screens  ■  Demanded  by  studios  and 
film  labs  for  viewing  during  produc- 
tion, dubbing,  and  scoring. 
T-MATTE  BLUE- rear-illuminated 
screen  for  latest  traveling-matte 
process  ■  Practical  for  large  and 
small  sets,  major  productions,  or  TV 
commercials. 


FILMSCREENS  FOR  TV  PRODUCTION 

TV-BLUE-background  screen  ■ 
Favorite  of  networks  ■  Versatile  ■ 
Efficient. 

LUXCHROME  60— neutral  gray  screen 
for  closed-circuit  techniques,  back- 
grounds and  rear  projection  viewing. 


► 


FILMSCREENS  also  designed  for  A-V, 
fairs,  trade  shows,  exhibits,  simula- 
tors, plotting  and  display  systems,  and 
special  architectural  requirements. 


STEWART  FILMSCREEN  CORP. 

1161  W.  Sepulveda  Blvd. 
Torrance,  Calif.  90503  (213)  326-1422 

I  want  to  look  further  into  Stewart  Film- 
screens.  Please  send  me  additional 

information  on: 

NAME 

STREET 

CITY 


A 


_STATE_ 


mm 


International  Projectionist        May,  1965 


Now. 

Are  you 
willing  to  risk 
it  all  on  less 
than  Eastman 
films? 


More  than  anything  else  except  creative 
skill,  film  is  crucial  to  quality  in  movie- 
making. Isn't  it  a  false  economy,  then,  to 
attempt  to  save  a  fraction  of  a  cent  per 
foot  on  film  stock  which  has  less  than 
Eastman  quality?  And  doesn't  poor  film 
quality  jeopardize  your  entire  invest- 
ment, even  make  talent  look  bad? 

But  total  picture  quality  doesn't  demand 
that  you  merely  shoot  on  the  best  nega- 
tive. There's  also  the  print  stock  to 
consider . . .  and  some  don't.  It's  a  great 
mistake— both  from  your  point  of  view 
and  that  of  your  audience — to  print  on 
anything  less  than  EASTMAN  Film. 

Look  at  it  this  way.  Film — both  nega- 
tive and  print  stock — must  have  consistent 
speed,  uniform  processing  characteristics, 
dimensional  stability,  precision  perfora- 
tions and  uniform  slit  edges.  In  the  theater 
it  must  possess  a  long  wear-tear  capa- 
bility for  precision  in  projection  and  in 
order  to  hold  down  costly  print  reorders. 
EASTMAN  Films  have  all  these  qualities 
because  Eastman's  engineering  and  tech- 
nical facilities  are  unique.  Furthermore, 
Eastman's  film  specialists  are  always  at 
hand  to  help  you  maximize  production 
efficiency. 

Everything  considered,  doesn't  it  make 
good  sense  to  use  EASTMAN  all  the  way  ? 

Motion  Picture  Products  Sales  Department 

EASTMAN  KODAK  COMPANY 

Rochester,  N.  Y.  New  York,  N.  Y. 

Chicago,  111.  Hollywood,  Calif. 

IIIIIIHIIIIIIIIIIII 


EASTMAN  FILM 


nimiiiiiiiitii II 


International  Projectionist        May,  1965 


introducing  the  1965 


Is  there  really  a  new  Simplex  X-L  for  1965? 

Yes  and  No.  Yes,  because  the  X-L  mechan- 
ism never  stops  being  refined  and  improved  to 
meet  every  new  advance  in  motion  picture  pro- 
jection. No,  in  the  sense  that  the  basic  com- 
ponents that  have  performed  so  perfectly  for 
so  many  years  are  still  the  heart  of  the  X-L. 

Fact  is,  there's  a  long  list  of  advanced  engi- 
neering features  on  the  X-L  that  are  just  not 
available  on  any  other  projector.  But  it's  suffi- 
cient to  say  that  the  X-L  is  the  pride  of  the 
world's  most  experienced  manufacturer  of  pro- 
fessional motion  picture  projectors.  And  it's 
the  overwhelming  choice  of  projectionists 
everywhere. 

Get  all  the  facts  about  the  '65  X-L.  There's 
nothing  newer,  or  better  on  the  market. 

■%■  National 

>*4>r  THEATRE  SUPPLY  COMPANY 

Subsidiary  of  Central  Precision  Equipment  Corporation 


HOME  OFFICE,  50  PROSPECT  AVENUE,  TARRYTOWN,  NEW  YORK 
BRANCHES  FROM  COAST  TO  COAST   •   PHONE  MEDFORD  1-6200 


been  eliminated  by  discarding  old 
standards;  new  engineering  and 
adapting  new-type  fixtures.  This 
item,  alone,  saves  approximately 
$3,000. 

USE   NORMALLY 
WASTED  SPACE 

New  approaches  to  traffic  patterns 
of  patrons  entering  and  exiting  also 
conserve  precious  square  feet,  by 
putting  normally  waste  space  to  work. 

A  unique  use  of  common  materials 
has  eliminated  plaster  or  acoustical 
materials  for  auditorium  sidewalls 
not  covered  by  draperies. 

Special  products  have  been  de- 
veloped in  conjunction  with  standard, 
inexpensive  T-s;rid  acoustical  ceiling 
products,  whicVi  eliminate  the  appear- 
ance of  the  grids,  making  possible  a 
one-hour  rated  ceilina;  at  25  per  cent 
less  cost  from  normal  methods. 

As  you  can  see.  I  am  merely  cover- 
ing the  hi«?h  points,  since  this  dis- 
cussion could  s;o  on  and  on  for  days. 

"Necessity  is  the  mother  of  inven- 
tion." 

What  I  have  outlined  for  econ- 
omies in  construction,  must  be  follow- 
ed in  equipment  and  furnishings.  It 
can  be  done,  and  will  be  done. 

We  must  get  manufacturers  to  con- 
sider the  problems  and  the  cost  he 
creates  in  the  use  of  his  product.  The 
market  is  large  enough  to  warrant 
consideration. 

If  you  will  recall  my  previous  re- 
marks, noivhere  have  I  mentioned 
eliminating,  changing  or  cheapening 
any  item  or  phase  of  the  composite 
theatre  which  would  diminish  in  any 
way  the  esthetic  atmosphere,  the  com- 
fort, the  functional  qualities,  the 
maintenance,  the  ability  to  present 
motion  pictures  as  they  should  be 
presented — because  all  of  these  are 
primary,  and  are  of  extreme  impor- 
tance. 

I  have  not  covered  drive-in 
theatres.  Here  again,  most  are  still 
in  the  cow  pasture  stage.  Prestige  is 
seriouslv  lacking.  Yet,  they  are  a 
way  of  life  for  many  in  both  the  low 
and  hish-income  groups.  Actually, 
they  offer  some  groups  their  only 
outside  the  home  form  of  entertain- 
ment. They  are  a  tremendous  thing 
for  family  groups,  invalids  and 
handicapped. 

CAN   PRODUCE 
DESIRED   RESULTS 

The  human  mind  is  capable  of 
creating,  developing  and  producing 
anything  it  can  conceive.  It  can  pro- 
duce the  answers  and  the  end-results 
we  desire — if  we  will  only  dream  and 
put  it  to  work. 
The   ideas   presented   are    only   the 


beginning!  We  need  a  consolidated 
force — the  thinking  of  engineers, 
manufacturers,  designers,  architects, 
sales  people,  exhibitors,  producers 
and,   of  course,   the   customer. 

Your  future  depends  on  this  action. 

We  need  improvements,  studies, 
research,  and  cost  reductions  in  every 
phase  of  the  composite  theatre,  tuned 
to  today's  and  tomorrow's  needs: 
Functional  design  of  building,  use  of 
new  materials,  boxoffice  equipment 
and  security  control,  floor  coverings, 
lighting  and  electrical  systems,  seat- 
ing, advertising  panels,  displays, 
sound  and  projection  (and  all  items 
connected  therewith),  air  condition- 
ing and  heating,  maintenance,  mer- 
chandise of  by-products  and  the 
equipment  required. 

What  can,  and  will  you  do  about 
it? 

At  least  until  you  get  started,  I 
heartily  recommend  that  you  support 
to  the  fullest  those  manufacturing 
concerns  which  have  been  desperately 
attempting  to  create  new  and  im- 
proved products — and  we  really  have 
quite  a  few. 

There  is  a  new  and  improved 
screen  that  most  objects  will  not 
break  through.  There  are  new  lamp- 
houses  employing  new  principles. 
While  considerable  improvements 
have  been  made  in  some  U.S. -built 
projectors,  the  major  advancements 
have  been  by  foreign  companies.  The 
xenon  lamp  appears  to  have  a  bright 
future. 

There  are  new  theatre  seats  avail- 
able, but  the  cost  is  staggering.  Im- 
provements and  new  approaches  have 
been  made  in  change-letter  displays. 

Transistorized  sound  is  a  definite 
and  great  improvement.  However,  we 
need  factor-assembled,  plug-in  units, 
eliminating  the  tremendous  on-site 
assembly  costs;  and,  of  course,  this 
principle  of  simplicity  should  be  a 
major  consideration  of  any  future 
equipment  and  furnishings. 

In  closing,  let  me  again  remind 
you  —  I  believe  you  must  get  your 
feet  wet  in  the  industry's  problems. 
Get  out  of  the  class  of  an  order- 
taker  and  expediter,  or,  in  fact,  a 
manufacturer's  agent. 

Get  into  the  business  as  adviser, 
counselor,  consultant,  assisting  and 
guiding  manufacturers  and  exhibi- 
tors, architects,  engineers,  designers. 
But  let  me  warn  you  again — this  is 
a  great  responsibility!  Personal 
opinion — guesswork — must  go!  Your 
advice  and  counsel  must  stem  from 
knowledge  based  on  study  and  re- 
search. iP 


10 


International  Projectionist        May,  1965 


N.  Y.  UNION  PROJECTIONISTS  HONOR  ALLEN  SMITH  —  Allen 
Smith,  National  Theatre  Supply  Co.'s  sales  specialist  in  projection  and  arc  lamp 
equipment,  is  being  presented  with  an  illuminated  Scroll  on  which  is  inscribed 
a  resolution  by  The  Twenty  Five-Thirty  Club,  IATSE  of  New  York  which 
says  in  part  -  "in  recognition  of  achievement  in  giving  a  superior  meaning  to 
the  word  'service'  and  for  his  unusual  inspirational  ability  in  bringing  commend- 
able benefit  to  all  of  the  many  who  have  been  privileged  to  work  with  him." 
He  has  been  an  honorary  member  of  the  organization  since  1943.  Presenting 
the  Scroll  to  Mr.  Smith  is  Secretary  Morris  J.  Rotker,  and  President  Morris  I. 
Klapholz  on  the  right.  The  occasion  was  the  annual  installation  of  officers  with  a 
banquet  and  dinner  dance. 


First   Installation   of 
Strong    Futura    II 
In   Mexico 

The  first  installation  of  the  new 
Strong  Futura  II  projection  arc 
lamps  in  the  Republic  of  Mexico  has 
just  been  completed  at  the  Cine  Ter- 
raza  Mazatlan.  Mazatlan.  Sinalva, 
Mexico. 

This  theatre,  which  has  3.00'J  seits. 
and  a  screen  67  feet  wide  x  31  feet 
high,  is  the  property  of  Cia.  Opera- 
dore  de  Teatros.  S.A.  The  lamps 
were  sold  through  Abastecedora  De 
Cines.  S.A.  iP 

New  Entrance  Mat  Offers 
Choice  of  Too  Surfaces 

\  choice  of  pyramid  or  ribbed 
surface  is  now  available  for  the  first 
time  in  one  sectional  heel-proof  en- 
trance and  lobby  mat.  according  to  its 
manufacturer. 

This  Roval  Guardsman  mat  is  con- 
structed from  molded  links  with  a 
special  interlocking  design  for  dimen- 
sional stability  and  100%  heel-proof 
protection.  Any  pattern  or  design  is 
produced  from  multiples  of  approxi- 
mately 4"  x  4"  squares  of  various 
colors. 

Literature  may  be  obtained  from 
American  Mat  Corp..  Wapakoneta. 
Ohio  45895.  iP 


TESMA  Joins  TOA, 
NAC  in  Trade  Show 

I  lie  Theatre  Equipment  and  Sup- 
ply Manufacturers  Assn.  will  partici- 
pate with  Theatre  Owners  of  America 
and  National  Association  of  Conces- 
sionaires in  sponsoring  the  1965 
Motion  Picture  and  Concessions  In- 
dustries Trade  Show  in  Los  Angeles. 
The  show  will  be  held  during  the 
concurrent  conventions  of  TOA  and 
NAC  at  the  Ambassador  Hotel.  Oct. 
27-30. 

This  was  announced  by  Sumner  M. 
Redstone.  TOA  president;   Edward  S. 
Redstone,    president    of    NAC, 
Arthur      J.      Hatch, 
TESMA. 

A  special  section 
Show  area  has  been 
theatre  equipment  manufacturers  and 
suppliers.  TESMA  last  joined  with 
NAC  and  TOA  in  a  convention  trade 
show  in  1963  at  the  Americana  Hotel 
in  New  York. 

Commenting  on  TESMA's  partici- 
pation this  year,  NAC  President 
Edward  Redstone  said:  "By  TESMA 
joining  as  an  active  participant  in 
the  1965  Trade  Show,  delegates 
attending  the  concurrent  conventions 
are  assured  of  seeing  one  of  the  most 
(Continued) 


and 
president      of 

of    the    Trade 
set    aside   for 


It's  no  box  office  secret. . . 

every  ficket  purchaser 
expects  and  deserves 
a  well-lighted 
screen  presentation 


ATIONAL 


ARC    CARBONS 

The  No.  1  Choice  for 

•  Uniform  Light  Distribution 

•  Superior  Arc  Stability 

•  True  Color  Fidelity 

•  Unequalled  Light  Efficiency 

CARBON  PRODUCTS 
DIVISION 


MOVING? 

Be  sure  to  send  IP  the  label 
from  the  cover  of  your  Inter- 
national Projection- 
ist as  soon  as  you  have 
your  new  address.  Please  al- 
low  five   weeks  for  change. 

INTERNATIONAL 
PROJECTIONIST 

1645    Hennepin    Ave. 
Minneapolis,    Minnesota    55403 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture   Equipment    Division 
100   E.  42nd  St.,   Now  York   17,  N.Y. 


International  Projectionist        May,  1965 


11 


That  manager  and  projectionists  alike  are  proud  and  pleased  with  the  new 
Strong  Futura  projection  arc  lamps  recently  installed  by  Western  Theatrical  Equip- 
ment Co.,  San  Francisco,  at  the  Southgate  Drive-in  Theatre,  on  Mack  Road, 
Sacramento,  Calif.,  is  evident  from  this  picture.  Left  to  right  are  Harold  Eichler, 
projectionist,  and  C.  H.  Granoski,  manager.  Literature  on  the  Futura  projection 
arc  lamps  may  be  procured  by  addressing  a  request  to  the  Strong  Electric  Corp., 
31    City    Park    Avenue,    Toledo,    Ohio    43601. 


complete  and  all-embracing  exposi- 
tions of  concession,  theatre  and  vend- 
ing equipment,  supplies  and  services 
displayed  under  one  roof." 

TOA  President  Sumner  Redstone 
stated  that  the  inclusion  of  TESMA 
in  the  1965  NAC-TOA  Trade  Show 
was  another  reason  why  every  exhibi- 
tor should  be  in  Los  Angeles  in 
October. 

"The  new  merchandise,  plus  im- 
provements in  existing  products, 
along  with  the  displays  of  concessions 
and  vending  equipment,  makes  atten- 
dance at  the  convention  a  sound 
worthwhile  investment,"  he  said. 

TESMA  President  Hatch  declared 
he  thought  the  new  TOA-NAC- 
TESMA  pact  was  a  good  one,  parti- 
cularly because  by  the  terms  of  the 
arrangement,  TESMA  member-manu- 


facturers would  display  their  equip- 
ment in  one  section  of  the  trade  show. 
He  also  said  it  was  his  conviction 
that  plans  for  the  trade  show  and 
its  location  in  Los  Angeles  would 
give  manufacturers  an  opportunity 
to  talk  to  many  of  their  customers  in 
the  West  Coast  area  and  show  them 
equipment  that  had  been  discussed 
only  verbally  and  by  mail  until  this 
time. 

"Our  association  with  TOA  and 
NAC  always  has  been  stimulating," 
Hatch  said.  "I  firmly  believe  that  the 
attendance  at  the  1965  Trade  Show 
will  live  up  to  expectations  and  that 
theatre  owners  will  get  a  better  idea 
about  the  newer  equipment  that  they 
have  heard  about  and  become  more 
familiar  with  improved  equipment 
that  has  come  on  the  market  in  the 
last  few  years."  iP 


New  System   Eliminates 
Sound  System  Feedback 

CHICAGO — The  voice  of  a  speak- 
er in  the  vast  expanses  of  a  cathedral, 
auditorium,  theater  or  gymnasium 
now  may  be  amplified  intelligibly  up 
to  100  times  without  the  risk  of 
screeching  "feedback"  that  hereto- 
fore has  limited  the  efficiency  of  all 
public   address  systems. 

The  inclination  to  "feedback"  is 
positively  eliminated  by  a  new  "equal- 
ization" system  which  may  be  incorp- 
orated into  any  properly  engineered 
public  address  installation,  according 
to  Milton  A.  Boom,  president  of 
Boom   Sound  Engineering,   Inc. 

The  firm  is  one  of  six  that  have 
been  licensed  as  agents  for  the  sys- 
tem. Other  licensees  are  Bolt,  Beran- 
ek  &  Newman,  Inc.,  Boston,  Mass.; 
Tracor,  Inc.,  Austin,  Texas;  Com- 
mercial Electronic  Products,  Inc., 
Indianapolis,  Ind. ;  Everett,  Inc., 
Denver,  Colo.,  and  Northwest  Sound 
Services,  Inc.,  Minneapolis,  Minn. 

The  licensor  is  Dr.  C.  P.  Boner, 
physicist,  former  president  of  the 
American  Acoustical  Society  and  for 
three  years  vice-president  of  the  Uni- 
versity of  Texas,  who  has  been  study- 
ing the  feedback  problem  for  30 
years. 

The  "Boner  System",  as  it  is 
known,  successfully  filters  out  certain 
sound  frequencies — which  differ  in 
various  structures — that  bounce  back 
into  the  microphone  and  cause  acous- 
tical feedback.  Boom  said.  Narrow- 
band filters,  it  was  explained,  are 
employed  to  eliminate  the  feedback 
sound  waves  after  precision  test 
equipment  locates  bounce-back  points 
and  identifies  offending  frequencies. 

"Full  range  sound  systems,  with 
high  amplification  and  high  fidelity, 
are  now  a  reality  for  areas  where  ef- 
fective utilization  of  public  address 
installations  has  been  impossible," 
Boom  said.  "Voice  reproduction  is 
so  true  and  natural  the  audience  is 
seldom  conscious  of  the  sound  rein- 
forcement." 

iP 


CARBON  ARCS    .    .   .  FOR  FINEST  PROJECTION 

J!(WHU4te  Ale  QgsiAo+U 


division 
•    Brighter  Light  on  Screen 

•   Longer  Burning  per  Carbon 
•    More    Economical 


CARBONS.    INC. 


12 


.   .   .    Compact  Xenon  Arcs 

division  - — 

TCer-fioss  LAMPHOUSES  •  Kcrnon   POWER  SUPPLIES 

BOON  TON.    N.  J.~l 

May,  1965 


International  Projectionist 


IA   Covers   Ballantyne 
Sound  Service  Engineers 

The  IATSE  has  signed  a  nation- 
wide agreement  covering,  for  the 
first  time,  the  sound  service  engineers 
employed  by  Ballantyne  Instruments 
and  Electronics,  Inc.,  it  was  an- 
nounced jointly  by  Richard  F.  Walsh, 
international  president  of  the  union, 
and  J.  Robert  Hoff.  executive  vice 
president  of  the  company. 

The  contract  is  identical  with  those 
covering  the  engineers  of  RCA.  Altec 
and  a  number  of  smaller  sound  ser\- 
ice  firms. 

Mr.  Hoff  explained  that  Ballan- 
t\  ne's  expansion  program  since  be- 
coming a  division  of  \BC  Consoli- 
dated Corporation  three  \ears  ago 
"has  made  it  important  for  our 
sound  men  traveling  in  all  parts  of 
the  count  r\  to  establish  a  closer 
liaison  with  projectionists  and  stage 
employees.  According),  we  welcome 
the  long  established  and  well  regard- 
ed IATSE  as  exclusive  bargaining 
agent  for  all  our  employees  engaged 
in  sound  installation  and  sound  sen- 
ile  work." 

\  new  brochure  on  replacement 
reflectors  for  projection  lamps  and 
their  relationship  to  efficient,  econ- 
omical operation  has  been  issued  by 
The  Strong  Electric  Corp.  It  en- 
compasses the  use  of  second  surface 
rear  silvered  reflectors  and  also  the 
first  surface  I  front  coated  I  cold  tvpe 
and  tells  where  each  are  appropriate 
A  cop)  max  be  obtained  b\  address- 
ing a  request  to  The  Strong  Electric 
Corp..  31  Cit\  Park  Avenue,  Toledo. 
Ohio  43601. 

iP 


Kneisley  Develops 
Twin  Rectifier 

The  Kneisley  Eleceric  Co.,  Toledo. 
Ohio,  announces  the  continuous  dut\ 
115RTK2  TWIN  Silicon  Rectifier- 
two  completely  independent  power 
sources  compactly  housed  in  one  case 
— designed  for  deluxe  theatres  where 
interruptions  cannot  be  tolerated. 
Transformers  consist  of  two  sets  of 
primaries  and  two  sets  of  second- 
aries. Either  rectifier  will  operate 
cither  lamp — and  both  lamps  at 
changeover,  should  emergency  arise. 

Two  480  ampere  lR-1325)  silicon 
stacks,  four  times  the  required  cur- 
rent rating,  assure  unlimited  stack 
life.  Arc  striking  current  minimizers 
are  not  required  to  protect  the  heavy 
duty  diodes  but  are  incorporated  in 
the   rectifier   to   prevent   sooting   and 

International  Projectionist        May,  1965 


pitting    of    expensive     reflectors    and 
damage  to  carbon  craters. 

Minimizer  shunting  >\\  itches  are 
built  in  lo  remove  a  minimizer  from 
the  circuit  should  an  emergencv 
arise.    Three   pole   relavs   are   also    in- 

<  orporated. 

Two  eight  position  fine  current  ad- 
justment switches  are  conveniently 
installed  on  the  front  panel  so  that 
each  lamp  can  be  adjusted  individ- 
ually. Full  wide  range  adjustment  is 
obtained  on  a  terminal  board  behind 
a  hinged  door  in  the  front  panel. 
A.C.  voltage  taps.  190/210  230  250, 
are  located  on  internal  terminal 
board. 

Heavy  transformers  double-impreg- 
nated in  special  coil  varnish,  baked 
16  hours,  operate  at  minimum  tem- 
peratures. A  quiet  fan.  lubricated  and 
sealed  for  life,  draws  cool  air  through 
lop.  over  the  stacks  and  transform- 
ers, exhausting  out  the  base. 

Kneisley  believes  this  rectifier  is 
unmatched  in  quantity,  quality,  and 
price — only  §1580  for  427  pounds 
of  rectifiers  which  occupy  just  three 
square  feet  of  floor  space. 

For  complete  details  write  The 
Kneisley  Electric  Co.,  P.O.  Box  1506, 
Toledo.'  Ohio  43603.  iP 


Projectionists 

who  like  quality 

always  use  the  best 


tar 

Film    Cement 

Sold  by  Supply  Dealers 

Send  for  FREE  Sample 

ACE  CHEMICAL  CO. 

■  (Division  of  the 
Ace    Electric   Mfg.    Co. I 

1923    Bay    Road 
Miami  Beach,  Florida 


Better 
Light! 


Lower 
Costs! 


RINGSDORFF  CARBON  CORP.    East  McKeesport.  Pa 


HEYER-SHULTZ 
METAL  REFLECTORS 

Top  Screen  Illumination 

Will  Not  Break,  Pit  or  Tarnish 

No  Replacement  or  Spare  Reflectors  Required 

See  your  dealer  or  write  for  full  particulars 
Manufactured  By  HEYER-SHULTZ,  Inc.,  Cedar  Grove,  N.  J.  V 


13 


Kodak   Fair  Pavilion 
ias  Fresh  New  Look 

The  Eastman  Kodak  Company's 
World's  Fair  Paviiion,  one  of  the  ten 
largest  industrial  exhibits  at  the  Fair, 
has  taken  on  a  fresh,  new  look  for 
the   1965   season. 

"We  think  it's  important  to  attract 
repeat  visitors  as  weil  as  first-time 
Fair  goers,"  said  Lincoln  V.  Bur- 
rows, Kodak's  Director  of  World's 
Fair  Planning.  "Thanks  to  photo- 
graphy's f.e  .ibie  nature,  we  will  offer 
during  19j5  a  number  of  exciting 
new  features  plus  our  major  19C4 
presentations." 

Last  year  over  6,000,003  people 
visited  the  Kodak  Pavilion,  one  of 
the  most  popular  at  the  Fair.  Special 
emphasis  has  been  given  to  photo- 
graphy's role  as  a  medium  of  inter- 
national communication  and  its 
potential  in  promoting  "Peace 
Through  Understanding"  —  the 
theme  of  the  Fair.  Throughout  the 
400-foot-long  structure,  all  the  e  .- 
Libit  areas  dramatize  the  phases   of 


photography's  achievements  through 
the  media  of  pictures,  fiims,  and 
visual   impressions. 

In  line  with  Kodak's  "fresh  look" 
for  1965,  the  pavilion  contains  a 
brand  new  third  theater  featuring 
Herb  Shriner  in  a  laugh-producing 
fi.m  on  heme  movies. 

Screening  in  the  large  Tower 
The  ate:-,  the  successful  award  win- 
ning Saul  Bass-produced  movie, 
"The  Searching  Eye"  has  been  re- 
vamped to  make  it  even  more  excit- 
ing and  colorful.  In  1964  the  film 
received  a  Grand  Award  from  the 
International  Film  and  T.V.  Festival 
of  Ne.v  York.  The  Dome  Theater  on 
the  upper  "moon  deck"  is  again 
showing  the  movie,  "Quest,"  pro- 
duced for  Eastman  Chemical  Pro- 
ducts, Inc. 

For  the  young  at  heart,  motion 
pictures  elsewhere  in  the  pavilion 
include  Disney  cartoons;  Burr  Till- 
strom's  puppets,  Kukla  and  Ollie; 
and  the  frolicsome  chimpanzees 
which  proved  so  popular  last  year. 

The   Pavilion   itself  —   winner   of 


€ONVmWNTlY  1OCATF0  DOWNTOWN 


'A  Shoft  Step  Pwn?  Every wrfc«f»' 


BURLINGTON 


1120  Vermont  Ave.,  N.W. 
300  COMPLETELY  MODERN  ROOMS 

•All   Rooms  Air- Conditioned 

•  Free  Parking  Adjoining 

•  Private  Tub  and  Shower  Bath  in  Every  Room 

•  All  with  Television 

•  Old  Mill   Lounge  Cafe 

•  Convention  Facilities  and   Group  Rates 

Singl.J7.50  to  J13.50 
Double   M3.50  »o$18.50 
Children  under  14  Free 

Telephone:  Teletype: 

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%..       Hudson  S.  Moi«*  W.    P.  Williams 

il|^v      Oen.  Mgr.  Mgr. 


HOTEL 


INTERNATIONAL  PROJECTIONIST 

1645   Hennepin  Ave. 
Minneapolis   34,   Minnesota 


Enter   my   subscription   for 


Name 

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□  1    year     (12)   issues — $3.00 

□  2   years  (24)    issues — $5.00 
FOREIGN:    Add   $1.00   per  year 


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14 


two  architectural  awards  for  design 
and  construction  ■ —  is  a  two-level, 
free-form  building  covering  69,003 
square  feet.  Its  undulating  upper 
deck,  which  provides  spectacular 
views  of  the  Fairgrounds,  is  topped 
by  an  8-story-high  circular  Picture 
Tower. 

A  landmark,  and  one  of  last  year's 
favorite  meeting  spots  for  Fair  visi- 
tors, the  Tower  is  crowned  with  a 
changing  five-picture  series  of  the 
World's  largest  outdoor  color  prints 
—  each  measuring  30  feet  by  36 
feet.  They  are  illuminated  day  and 
night  by  more  kilowatts  of  electricity 
than  are  used  for  an  entire  football 
stadium  or  3,000  average  U.S.  homes. 
The  giant  prints  are  changed  every 
four  weeks. 

Exhibitions  of  some  of  the  finest 
and  most  unusual  photographs  ever 
seen  are  being  displayed  in  a  chang- 
ing series  of  shows  in  the  Salon  Area. 
Exhibits  include:  Applied  Photogra- 
phy, Photography  in  the  Fine  Arts, 
Kodak  International  Color  Competi- 
tion, Best  of  Kodak  Photography 
Throughout  the  World,  and  Photog- 
raphy from  the  Air. 

The  information  Center,  one  of 
the  highest  traffic  areas  last  year, 
again  is  staffed  by  experts  in  all 
phases  of  photography.  In  addition, 
mjltilinguai  attendants  are  on  hand 
to  assist  foreign  visitors. 

An  additional  exhibit,  "How  to 
Photograph  the  Fair,"  has  been 
added  which  will  provide  picture- 
taking  trips  for  visitors,  most  of 
whom  use  cameras  extensively 
around  the  Fairgrounds. 

Some  other  exhibits,  several  of 
which  include  audience  participation, 
are:  Adventures  With  Your  Camera, 
International  Center,  Famous  Press 
Pictures,  How  Color  is  Created, 
Who's  Who  on  your  Birthday,  and 
the  Motion  Picture-TV  Story.        iP 

DEALER  SERVICES 

Irv  Turvey,  Western  Manager, 
S.O.S.  Photo-Cine-Optics,  Inc.,  New 
York  and  Hollywood,  was  recently 
invited  to  address  the  graduating 
class,  Motion  Picture  Dept.  at  Brooks 
Institute  of  Photography,  Santa  Bar- 
bara, Calif.  He  stressed  the  part  of 
the  dealer  as  equipment  counsellor, 
whose  wide  knowledge  of  equipment 
can  aid  the  producer,  saving  him 
time  and  money.  The  equipment 
counsellor  has  the  opportunity  to  see 
many  varied  installations  and  gains 
a  good  overall  knowledge  of  the  busi- 
ness, all  of  which  can  be  passed  on 
to  his  customers,  according  to 
Turvey.  iP 

International  Projectionist        May,  1965 


basic 
mathematics 


- 


by  NOIMAN  M.  CROWHURIT 


L 


■ 


S 


z: 


■ 


fyix 


■■Vf.'J 


j- 


VOLUMES 
1  through  4 
COMPLETE 

maamrmc 

TMOWaCMCUUft 

.  ..*  MOOfltN. 
tMRDAmOAQI 

to  mathematics 
ambits  wb 


PRACTICAL 
METHOD 


il 


LEARHING 
MATHEMATICS 


■^ 


A  RIDER 


■■    + 


«* 


-* 


-JSfF 


BASIC   MATHEMATICS 

by  Norman  H.  Crowhurst 

4-volume  'pictured-text'  course  makes  it  easier  than 
ever  before  possible  to  learn  all  the  math  you'll  need 
to  know  to  speed  your  progress  in  electronics — no 
short  cuts — no  gimmicks. 

This  remarkable  4-volume  course  takes  you  in  easy 
stages  from  counting  through  algebra,  geometry, 
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aheaJ  in  electronics  —  regardless  of  your  previous 
education!  It  employs  an  exciting  new  technique 
presenting  basic  mathematics  as  on  continuous  devel- 
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mathematics  are  not  divided  into  separate  and  un- 
related subjects.  Algebra,  geometry,  trigonometry, 
calculus  are  interwoven  at  progressively  rising  levels 
m  the  different  volumes.  Each  vo'ume  reinforces  your 
understanding  as  you  penetrate  more  deeply  into 
the  subjects.  Selectel  illustrations  create  clear 
images  of  mathematical  ideas  formerly  difficult  to 
understand. 

A  KNOWLEDGE  OF  MATH  SPEEDS  YOUR  PROGRESS  IN 
ELECTRONICS  —  No  matter  what  your  plans  are  in 
electronics  —  mathematics   plays   a   vital   role.    The 


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an  advanced  technician  or  an  engineer,  this  course 
will  speed  you  towards  your  goal. 
Volume  I  —  ARITHMETIC  AS  AN  OUTGROWTH  OF 
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Volume  III  —  DEVELOPING  ALGEBRA,  GEOMETRY, 
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Available  at  parts  distributors,  bookstores,  or  direct. 

i 

INTERNATIONAL    PROJECTIONIST 
1645   Hennepin    Avenue,   Suite  212 
Minneapolis,    Minnesota    55403 

Please    send    these    paperback    volumes: 

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PROJECTION  LAMP 

k.  3S/70  A 


*  OPTICALLY  AND  MECHANICALLY 

PERFECTED  TO  PROJECT 
THE  MOST  BRILLIANT  PICTURE  POSSIBLE! 


Now  available  with  the  New  Core-lite  . . .  Front  Surface  Coated 
Cold  Reflector  with  a  2  Year  Warranty. 


\  Registered  Trade  Mark 


SOLD  EVERYWHERE  IN  THE  UNITED  STATES  BY  LEADING  AUTHORIZED  THEATRE  SUPPLY  DEALERS 


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The  projection  booth  ot  Jefferson  Amusement's 

new    Shorpstown    Theatre    in    Houston,    Texas,     is 

'"quipped  with  Ashcraft  Super  Core-Lite  projection 

t   lamps,  using  new  Core-Lite  front  surface  reflectors. 

ectifiers  are  Ashcraft  S-1712/R  High   Reactance 

2    phase.      Projected    picture    screen    sizes    range 

rom    74x34    ft.    for    Cinerama    to    53x29    ft.    for 

tandard      The    projectionist    is    Morris    Craig    of 

ocal  279  in  Houston. 


JUNE 
VOLUME  40 
40c  A  COPY 


1965 
NUMBER  6 
$3.00  A  YEAR 


v 


(Investment  Opportunity 


The  tools  this  young  apprentice  is  learning  to  make  will 
one  day  be  used  to  turn  out  your  company's  products. 

A  great  investment  in  time,  money,  effort  and  faith 
will  have  to  go  into  making  him  productive.  Every  one 
of  us  has  a  stake  in  his  success — and  every  one  of  us 
must  invest  something — for  on  the  developing  skills  of 
America's  young  tool-makers  depends  the  continued 
functioning  of  all  industries. 

You  can  protect  your  investment  by  joining  with  other 
leading  American  businessmen  to  promote  the  Treas- 
ury's Payroll  Savings  Plan  for  U.S.  Savings  Bonds.  The 
Treasury  Department's  Plan  helps  safeguard  the  individ- 


ual liberties,  and  encourages  the  industrious  and  respon- 
sible attitudes  so  necessary  for  the  growth  of  our  econ- 
omy and  the  well-being  of  our  society. 

When  you  bring  the  Payroll  Savings  Plan  into  your 
plant — when  you  encourage  your  employees  to  enroll — 
you  are  investing  in  the  next  generation  of  America's 
skilled  craftsmen  and  technicians.  You  are  investing  in 
our  future.  In  freedom  itself. 

Don't  pass  this  investment  opportunity  by.  Call  your 
State  Savings  Bonds  Director.  Or  write  today  to  the 
Treasury  Department,  United  States  Savings  Bonds 
Division,  Washington,  D.C.,  20226. 


in  your  plant... promote  the  PAYROLL  SAVINGS  PLAN  for  U.S.  SAVINGS  BONDS     is 


*''c  si**1 

The  U.  S.  Government  does  not  pay  for  this  advertisement.  Tlie  Treasury  Department  thanks,  for  their  patriotism,  The  Advertising  Council  and  this  magazine. 


INTERNATIONAL 

PROJ  ECTIONIST 


Volume  40  June,  1965  No.  6 


FRANK   W.    COOLEY,    JR. 
Editor    and    Publisher 

RAY   GALLO 
Executive   Publisher 

AL    BLOOM 
Managing   Editor 

TOM   KENNEDY 
Equipment  Editor 


RAY   GALLO  ASSOCIATES 

National    Advertising    Representatives 

545    Fifth   Avenue.    New    York,    N.  Y.,    10017 

Telephone    Murrayhill    7-7746 

(Area    Code    212) 


IN  THIS  ISSUE 


No  Dearth  of  New  Ideas  4 


Warner    Theatre  10 


Century  Cine-Focus  1  1 


Century    21    Theatre  12 


News    Notes  —  Technical    Hints  —  Miscellaneous    Notes 


INTERNATIONAL  PROJECTIONIST,  published  monthly  by  the 
International  Projectionist  Publishing  Co.  division  of  The 
Northern  Publishing  Co.,  Post  Office  Box  6174,  Minneapo'is 
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INTERNATIONAL   PROJECTIONIST 


■HHBSh 


VOLUME  40 


June,   1965 


NUMBER  6 


No  Dearth  of  New  Ideas  for 
Projectionist  Craft 


By   Merle   Chamberlin 


/\  S  far  as  new  ideas,  inventions, 
*  *  and  technical  dreams  are  con- 
cerned, they  have  not  been  quite  so 
sparse  this  last  two  years. 

It  seems  that  every  time  I  write 
there  is  one  process  that  keeps  pop- 
ping up.  A  lot  of  engineers  and  tech- 
nicians in  our  industry  are  firmly 
of  the  opinion  that  projection  crafts- 
men are  firmly  of  the  opinion  that 
3-D  is  dead.  But  it  refuses  to  lie 
down. 

Now  there  is  another  new  process 
announced.  This  one  is  another  one 
announced  as  not  needing  glasses 
to  view  the  picture.  The  basic  prin- 
ciple behind  this  system  as  far  as  I 
can  determine  is  that  the  film  is 
once  again  projected  from  two  pro- 
jectors but  it  is  projected  on  to 
two  screens,  one  installed  directly 
in  back  of  the  other.  The  picture  on 
the  No.  1  projector  is  projected 
through  a  vertically  polarized  filter 
on  to  the  front  screen.  The  picture  on 


The  following  address  was  de- 
livered at,  the  47th  Convention  of  the 
IATSE  by  Merle  Chamberlin,  mem- 
ber of  !Iollywood  Studio  Projec- 
tionists Local  165  and  supervisor  of 
post-production  activities  for  MGM. 


the  No.  2  projector  is  projected 
through  a  horizontally  polarized  fil- 
ter on  to  the  rear  screen. 

Those  of  you  who  have  had  ex- 
perience with  polarized  filters  will 
have  to  admit  there  is  some  merit  in 
this  theory.  There  are,  of  course,  a 
couple  of  questions  which  remain  to 
be  answered. 

The  first  question  is.  where  do  we 
place  the  speakers  for  the  sound? 
It   is  obvious  we  cannot  place  them 


Merle  Chamberlin 


between  the  screens,  or  it  will  inter- 
fere with  the  picture  on  the  rear 
screen.  It  is  obvious  if  we  place 
them  behind  the  two  screens  we  are 
going  to  have  a  frequency  response 
problem,  which  means  modification 
of  all  the  equipment  in  all  the  the- 
atres. We  can  go  back  10  or  12  years 
and  place  them  around  the  screen, 
which  was  attempted,  many  of  you 
recall,  by  RKO. 

The  other  question  which  would 
immediately  come  to  anyone's  mind 
who  is  familiar  with  polarized  filters 
is,  where  do  we  get  enough  light  to 
project  the  size  of  a  picture  we  are 
all  used  to  today  in  the  average  the- 
atre. 

As  you  all  know,  polarized  filters 
will  absorb  approximately  50%  of 
the  light. 

There  have  been  many  continued 
improvements  in  lenses.  In  fact,  we 
are  at  the  point  where  lenses  are 
available  on  the  market  todayr  that 
were  unheard  of  three  or  four  years 
ago.  We  have  seven-element  and  nine- 
element,  very  fast  long  focal  length 
lenses. 

The  only  problem  as  it  exists  to- 
day with  this  type  of  a  modification 
i?  the  fact  that,  due  to  the  precision 
manufacture  of  all  of  these  seven- 
or  nine-elements  of  these  lenses,  the 

International  Projectionist        June,  1965 


lens  naturally  is  a  comparatively  ex- 
pensive item,  and  because  of  that, 
which  I  am  sure  is  the  only  reason, 
we  have  not  seen  too  many  of  them 
in   the  field. 

A  new  projector  on  the  market  is. 
as  I  choose  to  call  it.  a  semi-portable 
projector.  This  piece  of  equipment 
has  now  had  its  field  test.  It  is  the 
projector  that  is  used  for  all  types 
of  work  in  specialized  installations. 
Mich  as  production  and  censorship. 

This  projector  will  run  any  kind 
or  type  of  35mm  print  regardless  of 
the  status  of  production  on  that  par- 
ticular picture.  It  will  run  a  mag- 
optical  composite  movie-tone  print. 
1 1  will  run  a  straight  optical  compo- 
site movie-tone  print.  It  will  run  a 
separate  picture  and  optical  track 
print  and  a  separate  picture  and 
magnetic   track   print. 

In  addition  to  all  this,  it  will  run 
forward,  backwards,  and  it  will  hold 
a  frame. 

Now.  the  \alue  of  this  piece  of 
equipment,  of  course,  is  basically 
w  ith in  the  studios,  although  they  are 
appearing  in  small  screening  rooms 
in    various    isolated   spots   around   the 

i  ountrj . 

We  at  MGM  use  them  for  music 
liming,  for  synchronizing  and  for 
editing.  In  addition  to  that,  we  have 
secured  two  of  these  machines. 
mounted  on  wheels,  which  we  use  on 
production  stages  for  the  purpose  of 
matching  previously  photographed 
scenes,  and  we  also  send  them  on  lo- 
cation. 

While  they  are  on  location,  the) 
are  used  during  the  daytime  or  the 
early  evening  hours  for  screening 
the  previous  day  or  two's  rushes  re- 
turning from  our  laboratory,  and  at 
night  the\  are  used  for  the  entertain- 
ment of  the  crew. 

There  is  one  installation  of  this 
type  of  equipment  that  has  proven 
very  interesting.  That  is  the  Beverly 
Hills  Hotel  in  Beverly  Hills.  Calif. 
They  have  installed  this  equipment 
in  a  new.  little  theatre  they  call  the 
'"Cinema  Room."  which  is  adjacent 
to  their  bar  and  their  dining  room. 
This  has  proven  very  satisfactory,  be- 
cause it  affords  the  tired,  weary  inde- 
pendent producer  an  opportunity  to 
keep  on  working  while  he  is  still 
having  his  glass  of  lunch  or  dinner. 

When  we  first  received  our  70mm 
equipment  and  the  installations 
started  all  over  the  country.  I  know 
vou  will  all  agree,  we  received  a  very 
finely  engineered  and  manufactured 
piece  of  equipment. 

There  was  one  minor  defect  — 
minor  as  far  as  the  manufacturer  was 
concerned,  but  major  as  far  as  we 
were  concerned:    This    was    in    the 


changeover  system.  Ninety  per  cent 
of  the  changeovers  that  were  made 
with  this  70mm  equipment  ended  up 
as  a  dissolve.  Manv  of  the  shows  be- 
ing screened  around  the  U.S.  gave  us 
a  free  dissolve  between  every  reel. 
In  other  words,  the  last  few  frames 
of  the  outgoing  reel  were  still  on  the 
screen  when  the  first  few  frames  of 
the  incoming   reel  hit  the  screen. 

We  have  craftsmen  in  our  various 
I. A.  locals  who  very  seriously  take 
care  of  these  dissolves.  For  example, 
our  editors'  locals  are  responsible 
for  designating  where  a  dissolve 
should  go  in  a  picture.  This  is  part 
of  their  dramatic  or  creative  edit- 
ing. They  use  this  device  to  signify 
passage  of  time  or  to  get  an  actor 
quickly   from  one  spot  to  another. 

Our  photographers'  locals  manu- 
facture these  dissolves,  and  our  lab- 
oratory craftsmen  process  them  and 
cut  them  into  the  negative  of  the  pic- 
ture. 

By  the  wildest  stretch  of  the  imagi- 
nation. I  don't  think  that  anv  editor 
has  ever  signified  that  a  dissolve 
should  go  between  every  reel. 

The  manufacturers  of  this  equip- 
ment continually  ignored  our  com- 
plaint but  in  Chicago  the  Essanay 
Electric  Co.  engineered,  designed  and 
is  manufacturing  a  70mm  changeover 
modification  that  is  in  every  respect 
just  as  clear-cut  as  any  35mm  change- 
over on   the  market. 

There  are  quite  extensive  experi- 
ments going  on  in  certain  areas  of 
Hollywood  in  respect  to  coming  up 
with  a  liquid  gate  for  projection. 
Those  members  of  laboratory  locals 
are  thoroughly  familiar  with  printing 
with  a  liquid  gate.  But  printing  with 
v  liquid  gate  is  entirely  different 
than  projecting  through  a  liquid 
gate. 

The  theory  behind  this  is  when 
\ou  run  film  through  this  liquid 
many  evils  are  cured.  It  is  the  same 
principle  as  coating  a  piece  of  optical 
glass.  AH  the  little  scratches,  hills 
and  valleys  are  filled,  and  you  have 
a  perfect   optical   plane. 

The  biggest  problem,  of  course,  is 
that  when  compared  to  installing 
liquid  gates  in  anywhere  from  one 
to  four  or  five  printers  in  a  labora- 
tory, the  installation  of  liquid  gates 
in  projectors  in  maybe  even  one- 
fourth  or  one-fifth  of  the  14  or  15,- 
000  theatres  in  the  U.S.  would  be 
quite  a  project. 

Due  to  the  fact  that  the  film  has 
to  enter  a  liquid  gate  in  a  perfect 
seal,  run  through  the  liquid,  leave 
the  liquid  gate  through  another  per- 
fect seal  and  be  dry  before  it  hits  the 
take-up  reel,  the  expense  of  this  in- 
stallation   now   would    not    anywhere 


I 


w(l6K  UOU  U26 

\  {i/ist-su/ijace 


Tl 


The  aperture  and 
lens  never  become 
excessively  hot. 
Film  Rate  heat  is 
reduced  50%  and 
emulsion  blistering 
and  film  buckling 
arc  eliminated. 

See  your  dealer  for 
the  size  you  need  or 
write  for  data  on 
sizes   for   all   lamps. 


THE 


ELECTRIC 
CORPORATION 

3i  City  Park  Avenue 
Toledo,  Ohio  43601 

Phone  |419)  248-3741 


International  Projectionist        June,  1965 


7?) 


near    warrant   the    results   that   have 
been  demonstrated  so  far. 

Another  thing  we  talked  about  a 
couple  of  years  ago  was  Xenon  lamps. 
We  had  at  that  time  available  to  us, 
as  I  explained  to  you.  a  450-watt 
Xenon  lamp  that  would  very  comfort- 
ably take  care  of  a  14-  or  15-foot 
picture.  By  using  a  high-grain  screen 
we  could  stretch  that  to  say  an  18-  or 
19- foot  picture. 

The  prediction  was  made  at  that 
time  that  there  would  be  substantial 
advances  as  far  as  Xenon  lamps  were 
concerned,  because  the  advantage  of 
the  lamp  was  obvious.  To  remind  you 
of  those  advantages,  a  Xenon  lamp 
produces  a  perfectly  steadv  light 
which  remains  absolutely  constant  as 
far  as  color  temperature  is  concerned. 

The  progress  has  been  a  little  be- 
yond even  our  expectations.  Whereas 
two  years  ago  we  had  a  450-watt 
lamp  and  let's  say  a  15-foot  picture, 
we  now  have  available  to  us  a  900- 
watt  lamp  which  will  handle  a  25- 
foot  picture,  a  1.600- watt  lamp  which 
will  handle  a  30-foot  picture,  and 
within  a  very,  very  short  few  weeks 
we  will  have  a  2.500-watt  Xenon 
lamp  that  will  handle  up  to  a  40-foot 
picture. 

There  is  one  company  in  the  U.S.. 
for  your  information,  that  has  seri- 
ously gone  into  the  Xenon  lamp  par- 
ticulars. In  other  words,  they  have 
assembled  all  the  information  avail- 
able from  all  sources,  not  only  on 
the  lamp,  but  on  the  auxiliary  equip- 
ment required  to  operate  the  lamp, 
on  the  installation  and  operating 
problems,  the  estimates  as  far  as  sav- 
ings over  carbons  are  concerned,  and 
so  on.  That  company  is  Carbons. 
Inc..  of  New  Jersey,  better  known 
to  all  of  you,  I  think,  as  Lorraine 
Carbons. 

I  also  spoke  to  you  two  years  ago 
about  our  prints  and  the  treatment 
of  our  prints.  By  treatment  of  our 
prints,  in  this  instance,  I  mean  the 
formula  that  we  use  to  treat  our 
prints.  I  told  you  we  were  spending 
money  and  time  searching  for  a 
formula  that  would  not  only  provide 
sufficient  lubrication  but  would  also 
afford  a  certain  amount  of  protec- 
ion  to  the  emulsion  on  those  prints. 

The  project  became  much  larger 
than  we  thought  it  would.  With  every 
change  of  temperature,  with  every 
change  of  humidity,  we  have  been  re- 
ceiving complaints. 

After  the  expenditure  of  thousands 
of  feet  <  film  in  tests  and  after  the 
expenditure  of  quite  a  few  dollars, 
even  to  the  point  of  hiring  a  high- 
powered  consulting  chemist,  we  have 


come  up  with  a  formula  we  believe 
is  the  answer,  and  started  to  apply  it 
to  our  prints.  This  does  not  mean 
that  everything  in  the  field  from 
MGM  has  got  this  formula  on  the 
film. 

We  can  make  surveys  and  we  do 
make  surveys.  We  can  send  techni- 
cians in  the  field,  and  we  do  send 
technicians  in  the  field.  But  this  is 
only  a  spotcheck  at  best.  The  only 
way  we  can  get  the  real  answer  is 
from  the  members  of  the  projection- 
ist locals  in  the  Alliance. 

There  has  been  quite  a  bit  of  com- 
ment about  automation.  Automation 
as  such  in  the  studios  seems  to  be 
a  different  type  of  problem.  There  is 
one  big  laboratory  in  Southern  Cali- 
fornia that  has  gone  quite  extensively 
into  automation  and  as  a  result  there 
have  been  many  jobs  eliminated. 

But  when  you  get  on  the  produc- 
tion phase  of  the  motion  pictures, 
automation  or  improvements  which 
could  be  considered  automation,  in- 
stead of  actually  and  absolutely  eli- 
minating jobs,  tend  to  shorten  those 
jobs. 

With  our  specialized  craftsmen 
whose  basic  job  is  in  the  production 
of  motion  pictures  and,  as  such,  a 
large  part  of  those  jobs  are  satisfy- 
ing the  whims  and  whimsies  (and  in 
all  cases  very  creative  whims  and 
whimsies )  of  producers  and  direct- 
ors, automation  just  does  not  work. 
But  there  have  been  improvements 
which  will  perform  a  job  quicker 
than  previously.  It  naturally  stands 
to  reason  that  the  shorter  the  job 
or  the  less  time  it  takes  to  perform 
c"  specific  job.  the  longer  the  layoff 
in  between  jobs. 

The  only  solution  to  that,  of  course, 
which  we  can  see,  is  the  ultimate  goal 
we  are  all  after  and  which  we  hope 
someday,  with  the  help  of  evervone 
concerned,  to  realize:  a  steady  flow 
of  production. 

I  would  like  to  say  a  couple  of 
words  about  In-Flight  Motion  Pic- 
tures. On  the  surface,  the  rental  of 
a  movie  to  an  airline  flying  between 
New  York  and  Los  Angeles  and  re- 
turn does  not  appear  to  present  quite 
a  big  item  of  income  to  a  motion 
picture  studio.  But  when  you  couple 
the  rental  from  that  film  with  some 
of  the  other  so-called  fringe  release 
areas,  such  as  movies  enroute.  which 
is  the  showing  of  pictures  to  the  pas- 
sengers on  luxury  ocean-goins;  liners, 
this  Avhole  pool  becomes  a  substantial 
item. 

Out  of  just  a  plain  sense  of  curio- 
sity, I  have  made  four  or  five  trips 
to  Los  Angeles  International  Airport 


and  have  stood  around  the  TWA 
check-in  counter  just  to  hear  what 
I  could  hear.  You  delegates  would  be 
very  surprised,  I  know,  to  realize  that 
ever  50%  of  the  people  I  hear  check- 
ing in  for  transcontinental  flights  in- 
quired. "What  is  the  movie?"  By 
the  same  token,  a  large  number  of 
people  checking  in  at  the  TWA 
check-in  counter  for  shorter  flights, 
such  as  to  St.  Louis,  Chicago,  and 
so  forth,  were  asking,  "Is  there  a 
movie  on  this  flight?" 

I  have  been  asked  by  manv  what 
the  situation  is  on  70mm  film.  In 
my  personal  opinion  70mm  film  has 
more  or  less  steadied  down  to  a 
steady  rate.  It  is  by  no  means 
finished.  And  I  do  not  think  that 
by  any  means  we  will  experience  the 
terrific  surge  we  had  for  a  while. 

20th-century  Fox  will  release 
three  pictures  in  the  granddaddv  of 
all   the    70mm   systems,   Todd-AO. 

United  Artists  is  in  production  on 
what  could  be  called  the  baby  of 
70mm  systems.  D-150.  They  are  pro- 
ducing "The  Bible"  in  that  70mm 
system  and  have  scheduled  it  for 
1965  release. 

The  status,  as  far  as  MGM  Camera 
65  is  concerned,  the  system  with  the 
partial  anamorph  we  used  in  "Ben 
Hur"  and  "Mutiny  on  the  Bounty," 
is  that  there  are  no  pictures  shoot- 
ing today  in  that  system. 

We  made  15  prints  of  "The  Un- 
sinkable  Molly  Brown"  in  70mm.  I 
do  not  know  how  many  of  you 
represent  areas  where  those  prints  are 
being  shown.  These  prints  are  blow- 
ups from  a  35mm  Cinemascope 
negative. 

Those  of  you  who  have  seen  it,  I 
am  sure,  will  agree  it  is  an  excellent 
job. 

So,  immediately  posed  is  the  ques- 
tion. "Is  it  worthwhile  to  go  to  all 
the  additional  trouble  and  expense  in 
shooting  in  70mm  when  an  excellent 
70mm  print  can  be  made  from  an 
equally    excellent    35mm    negative?" 

This  could  be  the  wedge  we  have 
all  been  waiting  for  for  70mm  prints 
in  the  drive-in  theatres. 

Our  friends  at  Cinerama  are  still 
going  along.  They  have  come  up  with 
a  new  gimmick  which  they  call  their 
single-lens  system.  Presently  in  re- 
lease in  the  single-lens  system  is 
"Mad,  Mad.  Mad."  Mad  World"  and 
"Circus  World."  This  is  a  very  con- 
troversial subject.  Ninety  per  cent  of 
the  technicians  you  talk  to.  except 
those  in  on  the  inventing  of  the  sys- 
tem, feel  the  single-lens  system  does 
not  hold  a  candle  to  the  three-strip 
system. 

International  Projectionist        June,  1965 


Ilif  single  strip  s\stem  was  de- 
veloped by  scientists  and  engineers 
.Kiel  people  from  outside  the  industry. 
There  are  those  of  us  who  feel  that 
the  success  of  Cinerama  from  the  be- 
ginning  was  in  a  large  measure  re- 
sponsible to  the  excellent  craftsmen 
of  the  I. A.  staff,  the  technicians  the\ 
had  for  the  original  productions  and 
installations.  That  staff  has  more  or 
less  been  completely  depleted  and 
the  experimentation  and  additional 
work  was  taken  over  by  the  scientists 
and  the  engineers.  It  all  remains  to 
be  seen  as  to  whether  or  not  a  picture 
in  a  single-lens  system  Cinerama  will 
hold  up  as  those  in  the  three-strip 
did.  I  think  one  of  the  besl  examples 
of  staying  power  of  a  Cinerama  pro- 
duction in  three-strip  was  the  one  we 
made  in  conjunction  with  them. 
"How  the  West  Was  Won." 

\~  soon  as  "How  the  West  \\  as 
Won"  was  pulled  in  three-strip,  it 
was  our  prerogative  to  release  the 
same  picture  in  35mm.  Some  of  you 

might     be     interested     in     how     those 
prints  were  made. 

The  three  Cinerama  negatives  were 
optically  placed  on  one  65mm  nega- 
tive. This  65mm  negative  was  then 
reduced  to  a  35mm  negative,  from 
which  the  35mm  prints  wen-  made 
Fhe  three  lines  are  still  there,  we 
grant  \  ou  that.  Rut  it  is  impossible 
to  jiggle  them. 

Cinerama  equipped  the  Centun 
Drive-In  in  1  <>s  \ngeles  with  the 
three  projectors  and  tried  the  projec- 
tion of  their  travelogues  in  this  drive- 
in  theatre.  The  travelogues  met  with 
a  relative  degree  of  success  in  respect 
to  the  qualit\  of  the  product,  which, 
after  all.  is  still  the  basic  answer  to 
all  of  our  problems. 

The  big  picture  for  Cinerama  for 
this  year  will  be  George  Stevens' 
"The  Greatest  Story   Ever  Told." 

I  also  have  been  asked  about  dual 
prints — the  861  question:  Our  thea- 
tres are  equipped,  so  wh\  don't  we 
get   dual   prints? 

Well,  there  are  several  reasons  for 
the  shortage  of  dual  prints.  The 
first  one.  of  course,  is  economic.  The 
manufacture  of  four-track  sound 
will  cost  about  S2.500  if  you  make 
50  prints.  This  is  $50  a  print.  If  you 
stripe  and  sound  each  print  at  four 
cents  a  foot,  a  10.000-foot  picture 
means  you  are  talking  about  another 
>  100.  This,  however,  is  not  the  im- 
portant reason  behind  the  shortage 
of  dual  prints. 

The  reallv  important  reason  is  that 
the  reports  we  get  from  the  field  are 
that  for  some  reason  or  other — and 
we  choose  to  believe  it  is  the  exhibi- 
tor— the  magnetic  installations  are 
not  being  kept  up  to  snuff.  They  are 


The  new  Tee  &  Gee  Drive-In,  Aurora,  111.,  which  has  attracted  such  wide 
spread  attention  because  of  the  varied  attractions  offered  patrons,  constantly 
employs  a  carbon  arc  slide  projector  as  shown  in  this  projection  room  illustration. 
The  booth  equipment,  which  includes  National  Ventarc  blown  type  arc  lamps 
and  a  Strong  Universal  Arc  slide  projector,  was  installed  by  National  Theatre 
Supply,  Chicago.  The  projectionists  are  John  V.  Ray  and  James  P.  Ludwig.  Lit- 
erature may  be  procured  by  addressing  a  request  to  The  Strong  Electric  Corp., 
31  City  Park  Ave.,  Toledo,  Ohio  43601. 


attempting    to    run    magnetic    prints 

with  worn  out  magnetic  heads,  with 
maladjusted  preamplifiers  and  with 
surround  speakers  out  of  balance 
with  the  rest  of  the  system. 

Well,  a  magnetic  print  projected 
under  these  circumstances  naturally 
i-  worse  than  even  an  optical  print 
jusl  projected  straight  through  the 
one  big  speaker  behind  the  screen. 

Where  a  projectionist  has  told  an 
exhibitor  employer  that  he  definitely 
needs  these  replacements,  we  have 
found  out  that  the  exhibitor  employer 
will  go  out  of  his  way  to  request  an 
optical  print.  So  where  we  used  to 
make  a  hundred  dual  mag-optical 
prints,  on  the  big  subjects,  we  are 
now  down  to  about  20  or  25.  and  the 
occasion  has  to  be  rather  exceptional 
for  us  to  make  even  50  prints,  as 
we  did  on  "The  Unsinkable  Molly 
Brown"  and  "How  The  West  Was 
Won." 

Film  inspection  is  another  big 
controversial  subject.  As  part  of  my 
responsibilities  at  the  MGM  studios, 
I  have  to  worry  about  all  the  film 
that  leaves  our  plant,  where  it  goes, 
supposedly  how  it  is  handled,  and 
in  what  condition  it  ends  up  after 
three    or    four   months. 

The  consolidation  of  the  back 
rooms  has  definitely  hurt  us,  and  I 


have  so  informed  bur  executives.  It 
will  interest  those  of  you  from  the 
film  exchange  locals  to  know  that 
when  we  consolidated  back  rooms, 
we  went  all  over  the  world. 

Many  of  our  producers  feel  that 
they  are  not  getting  the  projection 
results  that  they  should  be  getting, 
when  the  expense  and  effort  of  mak- 
ing a  motion  picture  is  considered. 

The  majority  of  those  producers 
also  know  that  it  is  impossible  for 
a  projectionist  member  of  this  Alli- 
ance to  put  a  good  picture  on  the 
screen  if  his  employer  will  not  pro- 
vide him  with  the  wherewithal  in 
tools  and  equipment  to  project  that 
picture. 

It  is  difficult  for  a  lot  of  people 
tc  understand  why — when  it  is  com- 
mon knowledge  that  you  can  buy 
anything  you  want  for  a  theatre  on 
a  very  easy  payment  plan.  In  fact, 
the  Ballantyne  Co.,  as  you  all  know, 
has  just  announced  that  they  will 
lease  anything  on  a  weekly  rental 
plan.  They  will  lease  anything  from 
a  sprocket  to  a  whole  theatre,  and 
it  is  very  difficult  for  a  lot  of  our 
people  to  understand  how  much  eas- 
ier it  is  going  to  have  to  be  made  to 
encourage  an  exhibitor  to  keep  up  his 
theatre.  iP 


International  Projectionist        June,  1965 


i 


Wardrobe.  J54.000 

and  Studio  costs  . . .  $403,000 
Production  staff. . .  $275,000 
Talent . . .  $390,000 
Sets  . . .  $242,600 
Story . . .  $143,500 


Would  you 

ntake  u  good 

investment 

took  like 

a  poor  one 

. . .  on  purpose  ? 


&: 


u 


' 


Certainly  not,  you  say.  But  why,  then, 
would  you — or  anybody  else — consider 
making  a  motion  picture  on  less  than 
Eastman  films?  Better  to  consider  this: 
the  fraction  of  a  cent  per  foot  you  might 
save  on  less  than  Eastman  films  may  cost 
you  everything  in  terms  of  quality. 

Look  at  it  this  way.  Film — both  nega- 
tive and  print  stock  —  must  provide 
detailed,  full-tonal  reproductions  and 
must  have  consistent  speed,  uniform  pro- 
cessing characteristics,  dimensional  stabil- 
ity, precision  perforations  and  uniform 
slit  edges.  Go  with  anything  less  than 
Eastman  quality  and  you  may  be  in  for 
retakes  and  headaches,  reorders  and  "out- 
of-orders"  —  not  to  mention  audience 
dissatisfaction.  The  savings  you  counted 
on  are,  in  the  final  accounting,  no  savings 
at  all. 

With  Eastman  you  also  enjoy  the  ser- 
vices of  the  world's  finest  film  engineering 
and  technical  facilities.  Your  total  picture 
quality  is  backed  by  Eastman's  total 
quality  control.  And  Eastman's  specialists 
are  always  at  hand  to  help  you  get  maxi- 
mum production  efficiency. 

Everything  considered,  doesn't  it  make 
good  sense  to  use  Eastman  all  the  way? 


Motion  Picture  and 

Education  Markets  Division 

EASTMAN  KODAK  COMPANY 

Rochester,  N.  Y.     New  York,  N.  Y. 
Chicago,  111.  Holly  woo  d,  Calif. 


EASTMAN 


& 


Wardrobe..*549OtH> 

and  Studio  costs . . .  $403,000 
Production  staff. . .  $275,000 
Talent . . .  $390,000 
Sets . . .  $242,600 
Story...  $143,500 


^ 


Tf 


Womldgom 
tmake  a  good 

ini  4'sfnirii/ 

iook  tike 

a  pooi'  onv 
•••on  purpose? 

illl  cd| 
With  ! 


i   \    i  \i  \\  KOI)  U 
III  lln 


EASTMAN  III.M 


Warner  Theatre  in  New  York  Completes 
New  Projection  Installation  "Cine-Focus" 


ASHCRflFT 

SUPER  CORE-LITE 
CORE-LITE 

CINEX  SPECIAL 

35/70 

PROJECTION  LAMPS 

AND  HIGH -REACTANCE 

MULTI- PHASE  RECTIFIERS 

* 

World's  Standard 

of 

Projection  Excellence 


*^*^^^^^^^^^*»*^^^^^^^^^^? 


MOVING? 

Be  sure  to  send  IP  the  label 
from  the  cover  of  your  Inter- 
national Projection- 
ist as  soon  as  you  have 
your  new  address.  Please  al- 
low five  weeks  for  change. 

INTERNATIONAL 
PROJECTIONIST 

Suire  410,  545  Fifth  Ave. 
New   York,    N.  Y.    10017 


First  installation  of  Century's 
Cine-Focus  projector  film  stabilizer 
on  Century  70mm  projectors  was  re- 
cently made  at  the  Warner  Theatre, 
on  Broadway,  in  New  York  City,  for 
opening  of  "The  Greatest  Story  Ever 
Told,"  Century  Projector  Corp.  an- 
nounces. 

Century's  most  recent  development. 
Cine-Focus  is  reported  a  device  to 
provide  better  control  of  a  motion 
picture  film  as  it  is  being  projected 
under  any  conditions.  Cine-Focus  is 
a  "combination  of  carefully  engi- 
neered related  film  controls,"  Cen- 
tury adds,  which  enhances  solidity 
and  optical  perfection  of  the  picture 
and,  by  reducing  to  a  minimum,  eli- 
minates, for  all  practical  purposes, 
film  flutter  and  focus  drift.  It  is 
also  said  to  solve  the  problem  of 
breathing  necessitating  focus  read- 
justments. 

Positive  Film  Control 

By  correcting  several  factors  caus- 
ing picture  depreciation,  Cine-Focus 
is  also  reported  to  maintain  strict  and 
positive  control  over  the  film  while 
it  is  being  projected  and  to  contri- 
bute to  its  longer  life.  Reduction  of 
the  tension  required  by  the  film  trap 
shoes  and  maintaining  positive  con- 
trol of  the  film  positioning,  without 
exerting  undue  mechanical  pressure 
on  the  film,  results  in  reduced 
sprocket  hole  depreciation  and  makes 
prints    last    longer. 

Cine-Focus  is  "especially  valuable 
where  limiting  conditions  are  pres- 
ent," says  Century.  Included  are 
70mm  presentations  on  large  screens 
and  35mm  in  larger  theatres  and 
drive-ins.  It  is  also  reported  particu- 
larly adaptable  to  35mm  projectors 
in  smaller,  second-run  theatres,  as 
an  aid  in  using  films  that  have  been 
projected  under  circumstances  which 
cause  them  to  become  permanently 
buckled  and  cause  in  and  out  of 
focus. 

In  development  of  Cine-Focus. 
Century  says  its  engineers  have  for 
some  time  been  studying  factors 
causing  loss  of  picture  quality. 

One   of  the   problems   confronting 


all  projection  is  the  tendency  of  the 
film  to  distort  as  soon  as  the  heat 
from  the  arc  lamp  hits  it.  This  dis- 
tortion is  reported  well  known  and 
has  been  carefully  measured  and  de- 
picted in  high  speed  photographs. 
Many  technical  papers  have  been 
written  about  it,  and  attempts  to  eli- 
minate the  effects  have  produced 
many  patents. 

The  film  flutter  problem  existing 
during  the  projection  cycle  becomes 
more  and  more  acute  as  the  inten- 
sity of  the  heat  of  the  light  source 
increases.  This  increase  in  heat,  the 
firm  adds,  has  been  especially  mark- 
ed in  the  past  few  years. 

Another  serious  factor  affecting 
the  clarity  of  the  projected  picture 
has  been  demand  by  theatres  for 
higher  speed,  shorter  focal  length 
lenses,  Century  states.  Higher  speed 
lenses  are  used  in  an  attempt  to  ob- 
tain more  light  on  the  screen  (larger 
screens).  Shorter  focal  length  lenses 
are  used  to  increase  the  picture  size 
with  shorter  projection  distances. 

Introduction  of  new  developments 
has,  also,  usually  been  preceded  by 
"improvements"  in  associated  equip- 
ment— such  as  arc  lamps,  projection 
lenses,  screens,  theatre  interiors, 
camera  techniques,  film  and  film  pro- 
cessing (including  introduction  of 
motion  pictures  in  color) . 

Each  phase  of  these  developments 
has  created  additional  problems  in 
the  projectors,  it  is  said.  Larger  arc 
lamps  using  higher  power  create  heat 
problems.  New  lenses  with  higher 
"speeds"  accentuate  film  flutter 
problems.  Larger  screens  require 
either  larger  films  or  shorter  focal 
length  lenses.  Larger  films  create 
mechanical  problems.  Higher  gain 
screens  create  reflection  problems. 
Higher  screen  illuminations  create 
film  flicker  problems  as  well  as  print 
density  problems.  Use  of  color  mag- 
nifies the  problem  of  selecting  and 
controlling  all  of  the  essential  con- 
tributing factors  outlined  as  well  as 
numerous  others. 

iP 


10 


International  Projectionist        June,  1965 


"Cine-Focus" 

Century  Proj.  C 
New  Projection 

Century  Projector  Corp..  "New 
\  ork.  has  announced  development  of 
a  film  stabilizer  kit  called  "Cine- 
Focus."  The  announcement  states  the 
trade  name  was  coined  "to  include 
not  one  but  several  ideas,  any  one 
of  which  would  improve  the  opera- 
tion of  a  projector  but  in  combina- 
tion produces  a  screen  result  which 
has  been  acclaimed  everywhere  it 
has  been   used." 

The  announcement  describes  the 
equipment  further  as  follows: 

"By  the  use  of  water,  air  and  cool- 
ing, a  film  control  has  been  achieved 
which  results  in  a  picture  having  a 
solidit)  and  optical  perfection  never 
before  achieved  commercially.  In 
Combination  with  other  well  known 
devices  such  as  the  Centurv  water 
cooled  film  traps  plus  the  quartz 
coated  heat  filters,  film  flutter  and 
focus  drift  has  been  reduced  to  a 
minimum  if  not  i  for  all  practical 
purposes!    eliminated. 

"Cine-Focus  is  a  device  to  better 
control  a  motion  picture  film  as  il 
is  being  projected  under  any  and  all 
conditions.  It  is  especially  valuable 
where  limiting  conditions  are  present 
as.  for  example.  70mm  presentations 
on  large  screens  and  35mm  in  larger 
theatres  and  drive-in-.  It  i-  also  par- 
lii  ularlv    adaptable  to  35mm  project- 


Cine-Focus  projector  film  stabilizer 
mounted  in  the  Century  70mm  pro- 
jector operating  side — inside  view. 


orp.  Develops 
System 

ors  in  smaller  theatres,  second  runs, 
etc..  where  films  that  have  been  pro- 
jected under  circumstances  which 
have  caused  them  to  become  perman- 
ently buckled  as  to  cause  in  and  out 
of  focus. 

"Correcting  several  factors  causing 
picture  depreciation  Cine-Focus 
maintains  strict  and  positive  control 
over  the  film  while  it  is  being  pro- 
jected as  well  as  contributing  to  its 
longer  life.  Cine-Focus  not  onlv  con- 
trols the  positive  positioning  of  the 
film  but  it  ma\  also  contribute  to  the 
reduction  of  the  tension  required  bv 
the  film  trap  shoes.  It  accomplishes 
this  liv  maintaining  a  positive  control 
of  the  film  positioning  without  exert- 
ing undue  mechanical  pressure  on 
the  film.  This  results  in  reduced 
sprocket  hole  depreciation  and  makes 
prints  last  longer. 

"It  should  be  explained  that  Cine- 
Focus  is  not  a  so-called  air  pressure 
gate."  iP 

EPRAD  Announces 
New    Drive-In   Speaker 

A  new  (I  rive-in  theatre  speaker 
named  the  "Super  Blazer"  has  been 
announced  bj  Paul  Voudouris,  sales 
manager  for  EPR  \l).  Inc..  Toledo. 
Ohio. 

I  he  "Super  Blazer"  features  a  I- 
inch  weatherproofed  cone  and  a  1.17 
oz.  Alnico  V  magnet.  The  die-cast 
aluminum  case  is  manufactured  from 
a  high  grade  corrosion  resistant  alu- 
minum alloy.  Other  features  include 
a  deluxe  wire  wound  volume  control, 
rugged  long  lasting  cord  and  theft- 
proof  screws  to  reduce  tampering. 
are  standard.  The  "Super  Blazer" 
has  a  full  2  year  warranty,  according 
to  Voudouris. 

The  "Super  Blazer."  which  is 
priced  at  $4.36  with  a  straight  cord, 
is  available  only  through  EPRAD 
theatre  equipment  dealers. 

iP 

TESMA   to  Join   with 
TOA,   NAC   for  Show 

Theatre  Equipment  and  Supply 
Manufacturers  Assn.  will  participate 
with  Theatre  Owners  of  America  and 
National  Association  of  Concession- 
aires in  sponsoring  the  1965  Motion 
Picture    and    Concessions    Industries 


Trade  Show  in  Los  Angeles.  The 
show  will  be  held  during  the  con- 
current conventions  of  TOA  and 
NAC  at  the  Ambassador  Hotel.  Oct. 
27-30. 

This  was  announced  jointly  by 
Sumner  M.  Redstone,  TOA  president; 
Edward  S.  Redstone,  president  of 
NAC.  and  Arthur  J.  Hatch,  president 
of  TESMA. 

A  special  section  of  the  trade  show 
area  has  been  set  aside  for  theatre 
equipment  manufacturers  and  sup- 
pliers. 

iP 


Norelco 

projection 
equipment 

Available   from 

leading   theatre   supply 

dealers 

North  American  Philips  Co.,  Inc. 

Motion    Picture    Equipment    Division 
100    E.   42nd    St.,    New   York    17,   NY. 


International  Projectionist        June,  1965 


11 


Century  21  Theatre  Gets  Newest 

Of  Sound  Systems  in  Ampex  Installation 


The  Ampex  Corp.  has  delivered  its 
3000th  theatre  sound  system  -  a  six- 
channel.  960-watt  installation  in  the 
new  circular-domed  Century  21 
theatre  in  San  Jose.  Calif. 

Ampex.  a  pioneer  in  magnetic  tape 
recording  and  sound  reproduction, 
entered  the  theatre  sound  field  in 
1953.    Working  closely   with   motion 


THEATER -IN -THE -ROUND    — 

The  new  circular-domed  Century  21 
theatre  in  San  Jose,  Calif.,  is  designed 
for  the  ultimate  in  acoustics,  with  the 
940  seat  auditorium  encircled  by  a 
960-watt,  six-channel  sound  system  by 
Ampex.  The  new  installation  is  the 
3000th  theatre  sound  system  by  Am- 
pex Corp.,  which  has  similar  equip- 
ment in  theatres  around  the  world. 


picture  studios,  the  company  devel- 
oped the  first  true  stereo  sound  sys- 
tems for  theatres.  The  system  was 
first  used  in  theatres  across  the  coun- 
try in  conjunction  with  the  showing 
of  the  motion  picture  "The  Robe." 
one  of  the  first  pictures  filmed  with 
stereophonic  sound  tracks. 

The  system,  which  used  a  magnetic 
recording  head  to  pick  up  sound 
from  the  magnetic  track  on  the  film, 
offered  a  number  of  technical  ad- 
vancements over  optical  sound  track 
or  disc  recording.  The  advantages  of 
four  channel,  multi-directional  sys- 
tems with  the  superior  sound  pro- 
duced by  magnetic  recording  even 
after  hundreds  of  runs  attracted  the 
movie  industry. 

Later,  in  1955.  Ampex  developed 
a  new  magnetic  sound  system  with 
six  channels  for  the  motion  picture 
"Oklahoma."  This  system  earned  an 
"Oscar"  for  Ampex  from  the  Motion 
Picture  Academy  of  Arts  and 
Sciences. 

Since  then  virtually  all  motion 
pictures  have  utilized  the  magnetic 
recording  sound  track  technique. 
The  Ampex  sound  systems  have  be- 
come a  standard  of  the  industry. 

Cinerama,  which  uses  the  Ampex 
system  exclusively,  utilizes  up  to 
eight  channels  of  sound.  The  Century 
21  theatre  in  San  Jose  employs  five 
Voice  of  the  Theatre  A4X  speakers 
on  stage  and  eight  Voice  of  the 
Theatre  A7-500  speakers  surround- 
ing the  audience.  Each  of  eight 
amplifiers  has  a  rating  of  120  watts 
with  a  total  of  960  watts. 


The     quality     of     today's     theatre 
sound  system  is  indicative  of  a  mark- 


PROJECTION  ROOM  —  Ampex 
amplifiers  and  allied  equipment  (fore- 
ground) have  been  installed  in  the  pro- 
jection room  of  the  new  Century  21 
theatre  in  San  Jose,  Calif.,  to  power 
the  960-watt  six-channel  sound  system. 

ed  trend  in  growth  and  sophistication 
in  this  field,  according  to  Al  Lewis, 
manager  of  Ampex's  theatre  sound 
system  operations.  Theatre  owners 
and  motion  picture  executives,  more 
keenly  aware  than  ever  before  of  the 
competition  for  entertainment  dollars, 
are  turning  to  wide  screen  produc- 
tions and  the  multi-channel  multi- 
speaker  sound  systems  that  accom- 
pany  them   as   offering   new   dimen- 


CARBON  ARCS   .   .   .  FOR  FINEST  PROJECTION 

JloA/uzlne  /lie  QgsiMo>hA. 


division 
Brighiet  Light  on  Screen 

•   L    ngsr  Burning  per  Carbon 
•   More    Economical 


\       CARBONS.    INC. 


12 


.   .   .    Compact  Xenon  Arcs 

division  — 

Kern osr  LAMPHOUSES  •  KrmaM   POWER  SUPPLIES 

j 

June.  1965 


BOONTON.    N.  J 

International  Projectionist 


sions  in  motion  picture  entertain- 
ment. 

Seventy  millimeter  films,  which  are 
used  on  the  wide  screen,  will  he  pro- 
duced in  growing  numbers.  Lewis 
said.  During  the  next  two  /ears  some 
20  new  L.S.  made  70mm  films  are 
scheduled  for  release.  Foreign  pro- 
ducers are  also  making  a  number  of 
lhe:-e  films. 

Of  the  320  theatres  in  the  United 
States  equipped  with  70mm  process 
and  six  channel  sound  systems,  the 
majority  emplo\  Ampex  s\  steins,  it 
is  claimed.  Ampex  also  has  70mm 
installations  in  theatres  around  the 
world  including  Paris.  Brussels, 
Buenos  \ires,  Madrid  and  Taipei. 
Formosa.  During  the  next  feu  years, 
hundreds  of  theatres  in  the  United 
States  and  overseas  will  he  installing 
six  channel  sound  systems,  Lewis 
adds. 

In  addition  to  manufacture  of  a 
complete  line  of  sound  s\stem>  for 
all  theatre  requirements  including 
control  centers,  preamplifiers,  power 
amplifier?,  .-peakers  ami  recording 
and  playback  head-,  \mpex  sound 
speciali.-t?  arc  trained  in  the  science 
of  acoustics  and  correct  system  in- 
stallation. -\m|>e\  also  manufactures 
and  markets  professional  recorders 
for  broadcast  and  the  phonograph 
record  industry,  home  stereo  recor- 
ders.  television  and  instrumentation 
recorders,  electronic  recording  and 
data  storage,  geophysical  exploration, 
and    automation   equipment.  iP 

New  General   Electric 
Lighting  System  claimed 
Four  Times  Brighter 

CLEVELAND.  OHIO  —  A  .evolu- 
tional) new  projection  lighting 
>\stem  producing  up  to  four  lime? 
the  screen  brightness  of  current  8mm 
and  1 6mm  systems  has  been  de- 
veloped by  the  General  Electric  Com- 
pany's  Photo   Lamp    Department. 

Lester  W.  Dettman.  department 
general  manager,  said  the  new  system 
called  "MARC-300"  consists  of  a 
two-inch-long.  300- watt  quartz  arc- 
lamp  and  a  power  supply  unit. 

The  lamp  itself,  under  development 
by  General  Electric  for  the  past 
several  years,  is  small  enough  to 
permit  minimum  redesign  of  current 
projectors  for  its  use.  Dettman  said. 
It  looks  like  an  ordinary  tubular 
quartz  lamp  except  for  a  half-inch 
bulge  near  one  end.  The  bulge  is  the 
"arc  chamber"  where  the  light  is 
produced. 

The  power  supply  unit,  which 
starts  the  lamp  and  controls  it  during 
operation,   weighs   about   25    lbs.     It 

International  Projectionist         June 


BRIGHT  EYE— The  new  "MARC- 
300"  projection  lighting  system  de- 
veloped by  the  General  Electric  Co.'s 
photo  lamp  department  produces  up 
to  four  times  the  screen  brightness  of 
.urrent  8mm  and  16mm  systems. 
MARC-300  includes  this  300-watt 
quartz  arc  lamp,  a  power  supply  unit 
and  accessories. 

ma)  be  used  as  a  base  under  the 
projector  or  close  to  the  projector. 

In  screen  brightness,  MARC-300 
"outshines  current  1,000-watt  incan- 
descent svstems  b\    up  to    |l)0%. 

"The  experience  of  seeing  MARC- 
300  projection  for  the  first  time  is 
tiuK  exciting,  even  for  professional 
users."'   Dettman  said. 

"The  whites,  in  particular,  are 
made  so  much  more  brilliant  and 
crisp.  All  the  darker  colors  seem  to 
come  to  life  too." 

Demonstrated  in  side-by-side  tests 
with  a  standard  1.000-uatt  10mm 
projector.  MARC-300  shows  its 
added  brilliance  most  dramatically, 
he  said.    "The  viewer  is  immediately 


Projectionists 

who  like  quality 

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There's  nothing  like  them  for  pre- 
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1965 


13 


struck  by  the  bright  colors  of  the 
MARC-300  screen  image  and  the 
comparatively  drab  hues  of  the 
incandescent  projector's  image." 

Because  of  its  added  brightness 
and  smaller  source  size,  MARC-300 
will  increase  the  range  of  applica- 
tions of  all  projectors,  both  movie 
and  still,   in   which   it   is   used. 

16mm  projectors  with  MARC-300 
would,  for  instance,  be  suitable  for 
use  in  smaller  theaters.  It  is  con- 
ceivable. Dettman  admitted,  that 
MARC-300  could  broaden  the  use  of 
the  new  Super  8  projectors  in  educa- 
tion and  industry. 

The  lamp  provides  a  brilliant 
source  of  light  about  the  size  of  a 
drop  of  water.  Because  of  its  ultra 
small  arc  chamber  with  its  uniform 
brightness.  MARC-300  permits 
smaller  and  less  complex  optics  than 
other  systems.  Key  to  the  high 
brightness  of  MARC-300  is  the 
lamp's  super-bright  gaseous  atmos- 
phere caused  by  the  intense  level  of 
electric  discharge  between  two  mol- 
ten electrodes. 


In  spite  of  its  high  brightness, 
MARC-300  requires  little  cooling.  As 
a  result,  this  300-watt  source  permits 
more  cooling  air  to  be  diverted  to 
the  film  and  projector  parts  than 
possible  with  l.OOO-watt  systems. 

The  new  projection  lighting  system 
—  the  lamp,  power  supply  unit  and 
accessories  —  will  be  sold  to  projec- 
tor manufacturers.  Dettman  said 
MARC-300  is  not  interchangeable 
with  any  existing  projection  lighting 
source.  Prototype  models  of  MARC- 
300  have  already  been  provided  to 
these  manufacturers  for  integration 
into  future  projectors.  He  added  that 
replacement  lamps  would  be  available 
to  users. 

"Projectors  with  MARC-300  sys- 
tems will  find  greatest  acceptance  in 
audio-visual  markets  where  high 
brightness  and  portability  are  impor- 
tant —  mainly  schools,  the  military 
and  industry,"  Dettman  said.  iP 

New  Lens  Sweeps  Focus 

A  lens  that  can  sweep  its  focus 
along  any  given  plane  without  move- 


CONVENIENTLY  LOCATED  DOWNTOWN 

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merit  of  the  camera,  and  draw  the 
viewer's  attention  to  one  then  other 
side-by-side  objects  is  now  ready  for 
use,  according  to  its  manufacturer. 

The  lens,  called  the  Swing  Sweep 
Focus  Lens,  is  a  development  of  the 
Fred  A.  Niles  Communications  Cen- 
ters, Inc.,  Chicago,  New  York,  Holly- 
wood. The  firm  announced  several 
months  ago  that  the  lens  was  in  the 
development  stage. 

Now,  according  to  Fred  A.  Niles, 
president  of  the  production  firm,  the 
lens  has  been  refined  to  a  point 
where  it  is  ready  for  use  in  all  types 
of  production. 

Niles  said  that  the  development  of 
the  lens  was  under  the  direction  of 
Lionel  Grover  Niles,  vice  president, 
Hollywood,  who  worked  jointly  with 
a  staff  member  of  the  California 
Institute  of  Technology. 

A  side  benefit  of  the  construction 
of  the  lens  is  that  it  can  be  adjusted 
to  keep  objects  in  focus  from  three 
feet  to  infinity,  along  a  narrow  plane 
within  the  scene,  while  maintaining 
a  natural  perspective.  A  straight 
road,  for  example,  could  be  in  focus 
stretching  off  into  the  distance,  while 
both  sides  would  be  out  of  focus. 

iP 

$700,000  Theatre 
For  Houston 

The  multi-million  dollar  cost  of 
Houston's  "'Magic  Circle"  develop- 
ment will  be  complemented  by  a  new 
Loew's  luxury  theatre,  representing 
an  investment  of  $700,000.  A  long- 
term  lease  for  the  new  showplace,  to 
be  known  as  Loew's  Magic  Circle, 
was  signed  by  Art  Tolchin  and  Ber- 
nard Myerson,  chief  executives  of 
the  theatre  division  of  Loew's  Thea- 
tres, Inc.,  and  George  A.  Butler, 
president,  and  John  Cater,  Jr.,  vice 
president  of  the  Houston  Corpora- 
tion, builders. 

The  Magic  Circle  area,  surrounded 
by  the  lush  Tanglewood,  Memorial, 
Spring  Branch  with  River  Oaks  resi- 
dential sections,  contains  branches 
of  the  southwest's  leading  department 
stores  —  Neiman-Marcus,  Sakowitz, 
Joske's,  and  magnificent,  high-rise 
apartment  condominiums,  and  is 
rated  by  real  estate  experts  as  one  of 
the  top  areas  of  its  kind  in  the  entire 
southwest. 

Loew's  Magic  Circle,  in  keeping 
with  the  nature  of  the  area,  will  be 
of  luxury  type,  seat  1,200,  provide 
acres  of  free  parking,  and  be  equip- 
ped with  70mm  projection  and  a  60- 
foot  screen.  There  will  be  "rocking- 
chair"  seating  and  a  new  type  of 
acoustical  treatment  of  auditorium 
walls  and  ceiling.  iP 

International  Projectionist        June,  1965 


* 


basic 
mathematics 

by  mwmaii  u.  cmwwimt 


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1  1 

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VOLUMES 
1  through  4 
COMPLETE 


PRACTICAL 
METHOD 


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LEARNING 


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tvntuat 

to  unuunu 

/WITS  KB 


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A  RIDER 


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BASIC   MATHEMATICS 

by  Norman  H.  Crowhurst 

4-volume  pictured-teit  course  makes  it  easier  than 
ever  before  possible  to  learn  all  the  math  you'll  need 
to  know  to  speed  your  progress  in  electronics— no 
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This  remarkable  4-volume  course  takes  you  in  easy 
stages  from  counting  through  algebra,  geometry, 
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ahead  in  electronics  —  regardless  of  your  previous 
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related subjects.  Algebra,  geometry,  trigonometry, 
calculus  are  interwoven  at  progressively  rising  levels 
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understanding  as  you  penetrate  more  deeply  into 
the  subjects.  Selected  illustrations  create  clear 
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A  KNOWLEDGE  OF  MATH  SPEEDS  YOUR  PROGRESS  IN 
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Volume  I  —  ARITHMETIC  AS  AN  OUTGROWTH  OF 
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Available  at  parts  distributors,  bookstores,   or  direct. 


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1645  Hennepin   Avenue,   Suite  212 
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Please    send    these    paperback   volumes-. 

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Theatremen  Like  the  Futura 


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THi(^W^ELECTRIC     CORPORATION 

31  City  Park  Avenue  •  .  Toledo,  Ohio  43601 

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